Carmel Art Association

Carmel, CA

831-624-6176

http://www.carmelart.org

 

New Watercolors by W.F. Stone, Jr. -"Mostly Italian" at CAA in September (8/17/99)

Rip Matteson's Joy of Life (5/4/99)

Carmel Art Association Exhibits: "William Hannum: A Retrospective," and "Selected Works by Helen Barker" (4/8/99)

1999 Second Thursday Panels at the Carmel Art Association (1/1/99)

Happiness Is (11/18/98)

Carmel Art Association Gallery Showcase Artists for November 1998 (10/28/98)

Percy Gray 1869-1952 (7/22/98)

 

The Carmel Art Association, founded in 1927, has a long and proud heritage. Many of its early members were among the greats in California art history. The artists not only brought prestige to the CAA but were also hard working members, serving on the Board of Directors, working on the building and active in all aspects of the organization, making the CAA what it is today, truly "owned and operated by the artists."

The organization sponsors numerous events throughout the year. These include artist demonstrations, lectures, films and concerts. All of these are open to the public and are without admission charge.

Membership: Only artist members of the Association may exhibit at the CAA. In order to become a member, an artist must have lived on the Monterey Peninsula for one year, have shown in two professional galleries and one competitive, and been accepted by the Board of Directors at the annual jury for membership. Another category of membership is the associate member. These are Friends of the Association who help support the organization. By paying dues, the associate members are automatically invited to all community events, receptions and parties.

The Carmel Art Association is located on Dolores Street between 5th and 6th. Mailing address: Carmel Art Association / P.O. Box 2271 / Carmel-By-The-Sea, CA 93921 (information as of 12/99)

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Resource Library features these essays concerning Northern California art:

A Society for Six by Sarah Beserra

Jennie V. Cannon: The Untold History of the Carmel and Berkeley Art Colonies, vol. one, East Bay Heritage Project, Oakland, 2012 by Robert W. Edwards

Landscape Painters of Northern California 1870-1930 by Harvey L. Jones

The Carmel Monterey Peninsula Art Colony: A History by Barbara J. Klein

The San Francisco Art Association by Betty Hoag McGlynn

The Santa Cruz Art League by Betty Hoag McGlynn

The Carmel Art Association by Betty Hoag McGlynn

Monterey: The Artist's View, 1925 - 1945 by Kent Seavey

Maurice Logan, Artist and Designe by Marvin A. Schenck

The Society of Six by Terry St. John

Towards Impressionism in Northern California by Raymond L. Wilson

and these articles:

Artists at Continent's End: The Monterey Peninsula Art Colony, 1875-1907 is a 2006 exhibit organized by the Crocker Art Museum, including some 70 paintings, photographs and works on paper drawn from museums and private collections throughout California and beyond. It features work by eight artists of major importance to California's, and America's, art history -- Jules Tavernier, William Keith, Charles Rollo Peters, Arthur Mathews, Evelyn McCormick, Francis McComas, Gottardo Piazzoni and photographer Arnold Genthe. The exhibition also includes the work of more than 25 other artists, both well- and little-known, who each contributed to the reputation of what is now widely recognized as one of America's most important art colonies.

The Art Of Mount Shasta is a 2010 Turtle Bay Museum at the Turtle Bay Exploration Park exhibit for which William Miesse and Robyn G. Peterson, Ph.D, co-curators, say; "Most of the works in this exhibition, lent by museums, institutions, and private collections from around the country, stem from that San Francisco Art Boom. And these paintings are only the tip of the iceberg relative to the large number of Mount Shasta paintings in museums and private collections around the country. The current exhibition is representative of the extensive art history of the Mount Shasta region."

The Lighter Side of Bay Area Figuration is a 2000 Kemper Museum of Contemporary Art exhibit which contains 56 humorous, whimsical and satirical works of art by San Francisco Bay artists such as Wayne Thiebaud, Robert Arneson, Roy De Forest, Richard Diebenkorn, and Viola Frey. Comic art in the Bay area began to flourish during the late 1950s in deliberate defiance of New York's avant-garde. San Francisco's distance from the center of commerce and criticism fostered a renegade mentality and a tendency toward personal forms of expression. Bucking mainstream trends by combining humor with lowbrow artistic media and techniques became a badge of honor for many Bay Area artists. The hub of humorous figurative art was the University of California in Davis, a sleepy and relatively remote campus town 70 miles north of San Francisco. Although their aesthetics differed, most of the Davis artists explored humorous narratives, whether in clay sculpture or representational painting. The UC-Davis art department included artists Arneson, De Forest, Thiebaud, Manuel Neri, and William Wiley. There, Thiebaud painted his whimsical still lifes of ordinary objects from gumball machines and yo-yos to pies and cakes, like the exhibition's painting Cakes and Pies, 1994-95. Roy De Forest painted his canvases filled with wild-eyed, pointy eared dogs, and printmaker William Wiley produced his quirky alter ego, "Mr. Unatural." (right: Joan Brown, Portrait of Bob for Bingo, 1960, oil paint oncanvas, 29 x 28 inches, Collection of Joyce and Jay Cooper, AZ, Photo, Jay Cooper)

The Lighter Side of Bay Area Figuration is a 2000 exhibit at the San Jose Museum of Art, a compelling exhibition of approximately 70 works that deftly examines the historical, social, cultural, and aesthetic development of humorous Bay Area art. The exhibition -- the first to identify and examine this genre -- highlights the work of artists associated with the University of California at Davis, such as Robert Arneson, Roy De Forest, and Wayne Thiebaud, and with artists associated with the East Bay, such as Robert Colescott, Joan Brown, M. Louise Stanley, and James Albertson.

Made in California: Art, Image, and Identity, 1900-2000 / Section 1: 1900 - 1920 / Section 2: 1920 - 1940 / Section 3: 1940 - 1960 / Section 4: 1960 - 1980 / Section 5: 1980 - 2000 is a 2000 multi-part exhibit at the Los Angeles County Museum of Art. The exhibition goes beyond a standard presentation of California art to offer a revisionist view of the state and its cultural legacy. It considers both "booster" images of California and other coexisting and at times competing images, reflecting the wide range of interests and experiences of the state's diverse constituencies. The exhibit approaches the past 100 years thematically, presenting works that engage in a meaningful way with the California image. As opposed to a survey exhibition, Made in California moves beyond the established canon of artists and art works to include lesser-known works by celebrated figures as well as a wider range of artists, more in keeping with the diversity of California's population. It is the shared conviction of the exhibition organizers that this approach, intended to initiate a broader dialogue on California art rather than establish a new canon.

Made in Monterey a 2009 exhibition at the Monterey Museum of Art, is a sweeping exhibition of the most beloved and important works from the permanent collection created by artists in Monterey or by those inspired by the region. Beginning with the pioneering artists who sojourned on the Central Coast in the late 19th century (including Jules Tavernier and Raymond Dabb Yelland), the exhibition features significant works of Monterey modernists such as Armin Hansen and Margaret Bruton as well as photography visionaries Edward Weston and Ansel Adams. Two renowned works by Armin Hansen, Nino and Men of the Sea, have been conserved and make their stunning debut in this new presentation.

Majestic California: Prominent Artists of the Early 1900's is a 2007 exhibition at The Irvine Museum. At one time, California was considered a distant Eden, isolated within its own beauty. From snow-capped peaks of the Sierra Nevada Mountains to the desolate splendor of the Mojave Desert; from flower-covered hills to countless secluded valleys and meadows; from the dazzling beaches of the south to the rocky coves of the north, it was a world of its own. The enthralling beauty of California is the principal reason that, starting in the middle of the 19th century, artists began to take the long, hazardous journey to paint its unique splendor. By the early 1900's, California had its own group of prominent artists who proclaimed that beauty throughout the country.

Moods of California, a 2007 exhibition at The Irvine Museum, portrays California as experienced by three differing yet equally passionate artistic points of view. Percy Gray (1869-1952), a superb watercolorist who was fascinated by the soft, gentle light and haze of northern California; Paul Grimm (1887-1974), a landscape painter who in his later years moved to Palm Springs and became famous for paintings of the desert; and Emil Kosa, Jr. (1903-1968) who became one of Hollywood's best known scenic painters and set designers, while distinguishing himself as a bold painter of urban Los Angeles as well as light-filled views of the countryside.

The Not-So-Still Life: A Century of California Painting and Sculpture, held in 2003 at the San Jose Museum of Art, includes more than 100 works of art by such artists as Guy Rose, Franz Bischoff, Armin Hansen, Lorser Feitelson, Stanton McDonald-Wright, Hans Burkhardt, Helen Lundeberg, Paul Wonner, Wayne Thiebaud, Mildred Howard, Edward Ruscha, Ed Kienholz, George Herms, Richard Shaw, Peter Shelton, Alan Rath, and Robert Therrien. Divided into three sections: 1900-1930, 1920-1950 and 1950- 2000, the exhibition traces the intriguing evolution of still life in California over the last century. It is a revisionist examination of the genre. According to the curators, what was once the most conservative form of artistic practice has been transformed into one of the more radical forms of expression. Contemporary still life is no longer "still" -- it has not only moved off the table, but off the wall and into three dimensions. The exhibition examines a great variety of styles and media, from Impressionist paintings of apples and oranges to witty ceramic sculpture, funky assemblage art, and electronic media.

Old California is a 2000 exhibition at the California Art Club Gallery featuring original paintings and sculptures inspired by the romance and hardships that built a land named after the 16th century Spanish fable describing the treasure island, "California." The exhibition features prominent genre and figure artists of the California Art Club: Kalan Brunink, William George, Dan Goozeé, Joseph Mendez, Joel Phillips, Vic Riesau, and early CAC artist, Theodore Lukits (1897-1992).

Also see California Art History and Pacific Coast Painting: Alaska, California, Hawaii, Oregon, Washington: 19th-21st Centur

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