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VIEW IN MY ROOM
VIEW IN MY ROOM
Size: 20 W x 24 H x 1.5 D in
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Cities, like people, grow and change. In this spirit, San Francisco continues to inform my paintings. Last weekend, at a friend's birthday gathering in Culver City, I recounted how one morning, when I lived in San Francisco, I spotted the artist Richard Diebenkorn leaning up against a BART entrance watching the cable car turnaround across Market Street. Diebenkorn was captivated by the movement of the conductors as they spun the cars around on a giant wooden turntable. I stopped, leaned up against a wall, and flipped through art writer Robert Hughes' book "Nothing If Not Critical" until I reached his essay on Diebenkorn. I read slowly, pausing often to gaze up at Diebenkorn as he gazed towards Powell Street. Eventually, I closed the book, walked over and thanked Richard Diebenkorn for his art and inspiration. He smiled and tears seemed to well up in his eyes, as he said "Thank you. I am glad that my work inspires you. Is your studio nearby?" I nodded and tried to say something "about the interplay between figuration and abstraction in his work." Diebenkorn was frail at this point and seemed to know that he didn't have much longer to live. I didn't want to take him away from his moment alone in the morning light on Market Street. I thanked him again and moved on. Richard Diebenkorn died soon after in 1993. The late morning light, when it cuts through the fog in downtown San Francisco, opens the city up like an epiphany. I learned something profound that morning when I encountered Diebenkorn - my heroes were mortal. And in turn, my family and friends also had a short time on earth. Life is fragile. I looked at the streets anew. Around us and beneath us memories dwelt. A friend of mine who made his way from place to place along Market Street slid up to me one day at the corner of 6th and Market and showed me a horses skull in his battered shopping cart. "I was helping a man dig out his basement and I hit something hard", he said. "We found an entire skeleton buried there. Probably from the earthquake - from '07" Later I read that the cable cars were built because the horses kept breaking down on the steep San Francisco hills. The horses legs would snap under the weight. Maybe my friend's horse pulled a burden up Jones Street until collapse? An immigrant from Scotland devised a system to carry cars and passengers up the steep slopes without animal power. The turntable. Diebenkorn's gaze. The Changing Light. The Late Afternoon of Time. On exhibit from Nov 1, 2018 - Jan 1, 2019 at AUDIS HUSAR FINE ART 8670 Wilshire Blvd., Suite 114 Beverly Hills, CA 90211 Previously exhibited at The Other Art Fair, Los Angeles - October 2018
Painting:Oil on Canvas
Size:20 W x 24 H x 1.5 D in
Packaging:Ships in a Box
Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.
GREGG CHADWICK creates his artwork in an old airplane hangar in Santa Monica, California. The recurring sound of airplane take-offs and landings from the active airport runway outside his studio reminds him of his own history of travel. Chadwick has exhibited his artworks in galleries and museums both nationally and internationally. He earned a Bachelor's Degree at UCLA and a Master’s Degree at NYU, both in Fine Art. Chadwick has had notable solo exhibitions at the Manifesta Maastricht Gallery (Maastricht, The Netherlands), Space AD 2000 (Tokyo, Japan), the Lisa Coscino Gallery (Pacific Grove, CA), the Julie Nester Gallery (Park City, Utah), the Sandra Lee Gallery (San Francisco), and Audis Husar Fine Arts (Los Angeles) among others. Chadwick has participated in over one hundred group exhibitions including the L Ross Gallery (Memphis, Tenn), the Andrea Schwartz Gallery (San Francisco), the LOOK Gallery (Los Angeles), the Arena 1 Gallery (Santa Monica), the di Rosa Preserve Gallery (Napa) and the Arts Club of Washington (Washington DC). Chadwick’s art is notably included in the collections of the Adobe Corporation, the Gilpin Museum, the Graciela Hotel – Burbank, the Harbor Court Hotel - San Francisco; the Kimpton Group’s headquarters in San Francisco, the National Museum of the Marine Corps, Nordstrom Company Headquarters, the UCLA School of Nursing, the W Hotel Hollywood, and Winona State University. Chadwick is frequently invited to lecture on the arts. He has spoken at UCLA, Monterey Peninsula College, the Esalen Institute, TRAC 2015, the World Views forum in Amsterdam - The Netherlands, and at Categorically Not - a monthly forum that considers the arts and science. Twice a year he delivers a lecture on art and social justice at UCLA in an interdisciplinary form with the UCLA School of Nursing. Chadwick was a working artist in residence at the Center Theatre Group in Los Angeles leading students at Culver City High School in an exploration of Dael Orlandersmith’s “Until the Flood.” Chadwick is the proud father of his transgender daughter Cassiel Chadwick.. Chadwick’s blog, Speed of Life, explores the intersections between the arts and society and was honored by Carnegie Hall as one of the Top 16 Art Blogs in the country: Speed of Life. Chadwick’s flickr page which is often updated with new finished paintings and work in progress is at: http://www.flickr.
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