The First Art Newspaper on the Net   Established in 1996 United States Monday, August 19, 2019

Charlotte Jackson Fine Art opens exhibition of works by Anne Appleby
Anne Appleby, Taos Cottonwoods, 2016. Oil and wax on wood panel, 37 x 37 inches .

SANTA FE, NM.- When was the last time you stopped to really see the sprawling cottonwood in the parking lot, a rabbit bush – dry and dormant for the winter, or the elegant segmented stems of a horsetail plant in a neighbor’s front garden? Seeing is different from looking. Seeing takes more than eyes -- it requires relationship.

Anne Appleby’s Winter into Spring, presents work which brings the wholeness, the experience of seeing into physical existence on the walls of the gallery. Combining her love of color and abstraction with the intimate knowledge and relationship with the natural world which she acquired studying with an Ojibwe elder, Appleby’s work challenges viewers to see rather than look.

Each of the pieces in this spare, serene exhibition is based on Appleby’s observations of a particular tree, plant, or geographical location during the seasonal transition between winter and spring. The bulk of the pieces are oil and wax on wood panel – subjects taken mostly from the West and Southwest (juniper, cottonwoods, rabbit bush, a New Mexico winter garden). Additionally, there are three aquatint etchings, two with Western themes (False Iris and Horse Tail) and a special six-panel aquatint Verona Suite which was commissioned by collector Panza di Biumo while Appleby was in Italy in 2002. This piece takes the poplar trees along the banks of the Adige River as its subject.

Appleby applies multiple layers of paint, up to thirty, on each panel of these multi-panel works. At the end of the process, wax is applied, cutting glare and adding a softness and depth both to the color and surface. The various colors and shades subtly show through – a pale sage green glows with an undercurrent of sandstone-orange, a dusty pink seems to hold a mysterious pewter-blue within its depths. The history of the layers can be read along the edges. Like the oil paintings, the aquatint etchings are created by multiple applications of color for each panel – creating the similar effect of a color-echo coming through.

These paintings reflect the activity of an intimate relationship over time. Each panel highlights a different part of the plant – a catkin, a leaf, a seed, a bud. However, the color-echoes are more than just simple or singular observations – they are a recording of the actual experience of seeing a particular cottonwood, a certain juniper, over days, weeks. The history of color shift in the painting is also a history of colors changing as the plant grows, hardens, dies, is reborn in spring – and of the change from a cool cloudy morning to a bright sunny mid-day. In this way Appleby is recording more than just multiple parts of the plant or even the lifecycle of the plant – she is recording days, seasons, weather patterns. The works, taken as a whole, illuminate the relationships between time, weather, and plant, between Appleby and the light, the tree, the color, the declination of the sun.

To see the whole in this way takes practice and attention -- Appleby has worked with both painting and plants for years. The viewer – studying the cruciform arrangement of four panels: palest icy aqua, soft gray, light umber tinged with purple, faint bluetinted orange, will need to take time to let the histories, the colors, enter into them. The viewer must find a way to enter into relationship with the panels: recall the memory of a cottonwood, the feel of a still-hanging last-year leaf between her fingers, the shadow in the rough-textured bark. The depth created by the color layers becomes “cell depth”. Not the depth created by technique, but the depth of the leaf itself, the three-dimensional quality of a plant’s cell. The architecture of Appleby’s panel arrangements are accessible – human-sized and approachable. Each of these technical details are an aid to the viewer, allowing her to fall into relationship with the work.

As Appleby has said, “My paintings aren’t about the other world. They’re about our place in this world. What nourishes the soul is the experience of being in the body.” Each of the pieces in Winter into Spring is a part of a larger whole, a touchstone from which the viewer may re-orient herself, bodily, on the planet. The paintings of Anne Appleby remind us that art is about more than just how we see the world – art reminds us that how we see is determined by who we are.

Today's News

May 1, 2017

Modernity ignites three-day Millea Bros Ltd auction on Bidsquare

The National Gallery in Prague exhibits works by Gerhard Richter

Heritage Auctions offers Martin Luther King, Jr. audio recording undiscovered for 49 years on May 13

The Museum of Modern Art explores the provocative, shapeshifting career of Louise Lawler

Musée de la Vie romantique exhibits works by the "Raphael of flowers"

me Collectors Room exhibits the complete editioned works of Sigmar Polke

Schirn Kunsthalle Frankfurt presents a spatial sculpture by the artist Lena Henke

Sprüth Magers Berlin opens solo exhibition of new work by Lucy Dodd

Simon Lee Gallery exhibits new paintings by Garth Weiser

Mexican culture, history and scientific wonders explored in two exhibitions in Dallas

World's only Tiananmen museum returns to Hong Kong

Phillips unveils star lots for Jewels and Jadeite Auction in Hong Kong on 29 May

White Cube opens an exhibition of work by Jürgen Partenheimer

Repairs: Frac Centre-Val de Loire opens group exhibition

Exhibition explores how artists approach the space between the virtual and the real

Socrates Sculpture Park opens Nari Ward's first institutional solo exhibition in New York City

LAMA to partner with Emerson Woelffer Estate and Otis College of Art and Design

Charlotte Jackson Fine Art opens exhibition of works by Anne Appleby

Weiss Berlin exhibits works by Ali Altin

Mark Dorf's second solo exhibition with Postmasters Gallery on view in New York

Exhibition brings work of provocative designer Robert Stadler together with that of Isamu Noguchi

Von Lintel Gallery opens exhibition of new work by German artist Christiane Feser.

Exhibition highlights Katinka Lampe's interpretation and imagery surrounding the phenomenon 'bigotry'

Collectible sneakers introduced by Heritage in groundbreaking auction

Most Popular Last Seven Days

1.- Conservation reveals Wellington Collection work was painted by Titian's Workshop

2.- New dinosaur discovered after lying misidentified in university's vaults for over 30 years

3.- Unseen Texas Chainsaw Massacre outtakes and stills sold for a combined $26,880

4.- National gallery reveals conserved Italian altarpiece by Giovanni Martini da Udine

5.- London's Tate Modern evacuated after child falls, teen arrested

6.- Bavarian State Minister of the Arts restitutes nine works of art

7.- Boy thrown from London's Tate Modern is French tourist visiting UK

8.- Child thrown from London gallery has broken spine, legs and arm

9.- £10 million Turner masterpiece may leave British shores

10.- Tourists banned from sitting on Rome's Spanish Steps

Museums, Exhibits, Artists, Milestones, Digital Art, Architecture, Photography,
Photographers, Special Photos, Special Reports, Featured Stories, Auctions, Art Fairs,
Anecdotes, Art Quiz, Education, Mythology, 3D Images, Last Week, .


Ignacio Villarreal
(1941 - 2019)
Editor & Publisher: Jose Villarreal
Art Director: Juan José Sepúlveda Ramírez

Royalville Communications, Inc
Founder's Site. The most varied versions
of this beautiful prayer.
to a Mexican poet.

The First Art Newspaper on the Net. The Best Versions Of Ave Maria Song Junco de la Vega Site Ignacio Villarreal Site
Tell a Friend
Dear User, please complete the form below in order to recommend the Artdaily newsletter to someone you know.
Please complete all fields marked *.
Sending Mail
Sending Successful