The painting titled “The Cable” by Chicago artist Linda Horsley-Nunley was executed when the artist was painting large interior spaces with machine-like parts (a feeling of largeness due to living in Chicago and working for Northwestern University Extension. The images came to Linda from being surrounded by her father’s metal pieces and machine parts which were left laying around in his engineering shop. The large interior space style continued even after the artist and her husband moved to Freetown, Sierra Leone.
Presently, the artist’s passion is working with Figure and Cartoon images which lock together , still respecting the purity of shape but letting go of vastness of space around.
Linda Horsley received her BFA from the University of Washington and MFA from Northwestern University where she taught Basic Design after graduation. As an artist/planner she organized exhibitions, commissioned ten public art pieces and created events including poetry readings, music and dance. She was a founding member of, and the Event and Exhibit Coordinator at, the City Museum in St. Louis. This museum also has the artist’s artwork in their exhibits. Horsley was also the Assistant Director for six years at the St. Louis Architecture Museum located within the City Museum.
In 2002 Horsley published an Adult Fable book which she wrote and illustrated, Nature’s Play, presently limited edition available through author. ( contact in reply area ) She also illustrated a book for children Dancer, the Little Dog from Mayaro Beach, the story written by M. Gordon from Jamaica, published in 1991 in Trinidad and Tobago.
Linda moved from the Midwest to the Northwest in the winter 2004. In the fall of 2004 she was employed as an adjunct instructor, teaching Color Theory at Cornish College of the Arts, Seattle. From 2005 -06 she worked in sales for the Seattle Art Museum. The artist is presently
teaching courses at The Art Institute of Seattle in Color Theory, Design, Drawing and
Perspective, Analysis of Form, Concept Art for Animation and Game Arts, Cartooning
and Character Design.
She is a past member of Seattle’s Gallery110 Collective. She has also exhibited at the Burnley Gallery at the Art Institute in Seattle and at the Blackfish Gallery in Portland,Or. She has completed several art commissions for the Seattle Downtown Association that include Ponies on Parade and two Nutcracker March, plus a Pig sculpture for the Pike Place Market’s 100th Anniversary. She has been in four Camano Island/Stanwood exhibits entitled “Unclad,” and in exhibits in New York for Reflect Arts.
Horsley has lived in West Africa, Trinidad and Tobago and has also traveled to many cities in Western Europe over a 30 year period. She currently lives in Seattle where she paints, writes and teaches. Linda is the proud mother of two sons, Avery James Nunley and Boyd Farris Nunley.
Russian born painter, graphic artist and designer Sonia Terk Delaunay was active in Paris and the wife of painter Robert Delaunay. Her original surname was Stern, but she adopted the name Terk from a wealthy uncle who raised her in St. Petersburg. A friend of the family, Max Liebermann encouraged her to paint.
Like Marc Chagall, Sonia Terk emigrated from Russia to Paris in the first years of the twentieth century, joining Picasso, Matisse, Braque, Rouault, and Vlaminck in the remaking of art in the Post-Impressionist era. She settled in Paris in 1905 and, after a short-lived marriage of convenience to artist Wilhelm Uhde, she married Robert Delaunay in 1910.
After the birth of their son, Sonia spontaneously made a patchwork quilt for Charles’ crib: “About 1911 I had the idea of making for my son a blanket composed of bits of fabric like those I had seen in the houses of Russian peasants. When it was finished, the arrangements of the pieces of material seemed to me to evoke Cubist conceptions and then we tired to apply the same process to other objects and paintings.”
The couple became associated with the development of Orphism*—a highly abstract art movement which paralleled the geometry of Cubism* but with a much brighter color palette. Sonia’s first large scale painting in this new style was Bal Bullier (1912-13) a work known for its use of color and movement. It is said that painter Paul Klee was so taken with Terk-Delaunays’ patterning of squares from a 1912 illustrated book, that they became an enduring in his own work.
During the 1910-1920s, she focused upon bringing this new artistic lyricism into the world of design, transforming Art Deco* fabrics into vibrant high fashion clothing, wall coverings, furniture textiles, as well as, theatrical costumes. In the 1930s, Terk-Delaunay returned to a renewed focus on painting, joining the Abstraction-Creation group in seeking to create an art based upon non-representational elements, often geometrical, and continuing to focus on color as central to painting. The group was trans-national, and including among its members Jean Arp, Barbara Hepworth, Wassily Kandinsky and Piet Mondrian. In 1937 Sonia collaborated with her husband on a mural for the Paris Exposition.
After Robert Delaunay’s death in 1941, she continued to work and exhibit regularly as a painter & designer, often turning to printmaking. In 1963 Terk-Delaunay donated 58 of her own works and 40 of her husband’s to the Musee National d’Art Moderne, Paris. She became the first woman ever to be exhibited at the Louvre during her lifetime when the museum mounted an exhibition of the works the following year.
In an essay she wrote for her 1967 retrospective at the Musée National d’Art Moderne, Delaunay wrote of her 1920s experiments in color: “they were and remain ranges of colors, and based on the purified conception of our painting…My research was purely pictorial and in plastic terms a discovery which served both of us in our painting. Rhythm is based upon numbers, for color can be measured by the number of vibrations.”
Sonia Terk-Delaunay died in 1979 at the age of 94 with no regrets in her life. “Everything I’ve done, I’ve had fun doing” she remarked on the occasion of her 90th birthday.
“I am attracted by pure colors. Colors from my childhood—from the Ukraine. Memories of peasant weddings in my country in which the red and green dresses, decorated with many ribbons, billowed in dance.”
Carl Oscar Borg, protégé of Phoebe Hearst, friend of personalities like Edward Borein, Thomas Moran and Charles M. Russell, could create any subject in any medium, and do it well. He was most successful and highly regarded during his lifetime, receiving numerous awards and medals.
In the annals of American art history, Carl Oscar Borg belongs to the group of artists including Joseph Sharp, E. Martin Hennings, Walter Ufer, Victor Higgins, and Oscar Berninghaus. Borg belongs also to the group of American artists who came to California at the turn of the century to record the California landscape—artists like Marion and Elmer Wachtel, Hanson Puthuff, and William Wendt who taught him painting techniques. Borg’s works are included in many major museum, university, and private collection throughout the United States.
Borg succeeded in preserving America’s cultural heritage by documenting the customs and religious ceremonies of the Native Americans that had been shared with him. He felt a kinship with the West and the people who introduced him to it. He used paint, canvas and brushes to express the unique qualities he found in New Mexico, Arizona and California. He captured the grandeur of this unusual scenery, which is emphasized by atmosphere, light, color and expanse.
Carl Oscar Borg was born into a poor family in Dals-Grinstad, Sweden on March 3, 1879. As soon as he could hold a pencil he started copying pictures from books. He had neither the vocabulary nor the concepts to articulate a philosophy, but he yearned to be a great artist. Borg apprenticed to a house painter at age 15, then moved to London and became assistant to portrait and marine painter George Johansen. He began painting during that time.
In 1901, he sailed for the U.S. and worked as a house and furniture painter in the East. It was not the life he had dreamt about, and at the urging of his friends he headed for California. Carl Oscar Borg discovered Santa Barbara in 1903 as he made his way from San Francisco to Los Angeles. California provided the opportunity, support, and the spiritual environments, which permitted his talents to unfold, and his genius to develop. He enjoyed sailing out to the Channel Islands and often camped out weeks at the time to paint.
Under the patronage of Phoebe Hearst, who recognized Borg’s talent, he was able to return to Europe to study art. It was also Mrs. Hearst who made arrangements with the Department of the Interior for Borg to live with the Native Americans. Borg wrote: “The inhabitants of these great solitudes, these limitless horizons, this wilderness of color and form, are marked by an Arcadian simplicity, by a dignity and reserve that I am sure would be hard to find among any other living peoples…” And every summer, while residing in California, Borg would return to the desert to spend time with his many intimate friends among the Indians.
He taught art at the California Art Institute in Los Angeles, and at the Santa Barbara School of the Arts. He was the first art director for major Hollywood studios and worked with Sam Goldwyn, Douglas Fairbanks and Cecil B. DeMille.
For twenty years Borg made his way as an artist in the West, but the West began to resemble the rest of America. Carl Oscar Borg did not like the changes. But the automobile, railroad and the movies did support him as an artist. The Santa Fe Railroad hung his paintings along with other prominent artist’s work in their offices to attract the interest and attention of the tourists. Touring Topics, the AAA’s publication, featured one of Borg’s Grand Canyon paintings on the cover. Borg had a special place in his heart for the Grand Canyon. He wished to have his ashes be given to the wind of the Canyon.
But times were changing. Many of his friends in California had died. Borg saw the growing popularity of modern art. It was clear that these artists were fighting a losing battle. Borg returned to Sweden in 1934 and again in 1938. He painted people and scenes of Sweden, and successfully exhibited his paintings of the American Southwest. Although he was an American citizen, he could not return to the United States until after the war. Borg was very homesick for California, and could not wait to get back. He wrote to his friend Edwin Gledhill that he could not spend another winter in Sweden.
He returned to Santa Barbara in September of 1945. Many of his friends had died, and he was estranged from the world that had evolved there. But he was at peace with himself. On May 8, 1947, Borg was painting in his studio, as he did every day. That evening, he walked to his favorite restaurant to enjoy his favorite food. He was stricken with a massive heart attack and died in the ambulance on the way to the hospital. As he requested, his ashes were given to the wind of the Grand Canyon.
In his abstract paintings Martin Facey seeks not only to reconstruct, but also synthesize the language of landscape. Images of horizon lines, striated formations, and circular substructures are created with layer upon layer of paint. This process produces beautifully rich surfaces and vivid colors. Currently, Martin Facey was an Associate Professor of Art at the University of New Mexico, Albuquerque, New Mexico.
Martin Facey’s Biography:
Martin Facey lives and works in the North San Diego area of Southern California and maintains a studio in the mid-city-Crenshaw area of Los Angeles.
Raised and educated in Southern California, Martin Facey is a mid-career artist currently fascinated by botanical seed germination, a visual wonderland of microscopic processes such as heat, light, time, and humidity: all working in tandem to generate new life. The Seeds are new paintings and prints that mirror life formation itself. More in wonder than social criticism, Facey’s new work calls attention to the fragility of life on Earth and to the undeniable interconnectedness of all life. (See: New Work: Seed.)
Originally a film-making student at UCLA, Martin Facey was attracted to the art department by influential teachers such as Joyce Trieman, Bill Brice, Lee Mullican, Lynn Foulkes, and Richard Diebenkorn. Facey received two graduate degrees in painting from UCLA, and in the 1980’s a sequence of one-person exhibits at Santa Monica’s Tortue Gallery established his work as a critical and commercial success.
Both the John Simon Guggenheim Foundation and the National Endowment for the Arts have awarded Facey’s work with Single Artist Fellowships in Painting.
Martin Facey’s paintings and drawings have been exhibited in many one-person and group exhibitions. His principle gallery affiliations have been with Jean Albano Contemporary Arts (Chicago), Tortue Gallery (Santa Monica), Ivory-Kimpton Gallery (San Francisco), Sena Galleries East and West (Santa Fe), Linda Durham Gallery (Santa Fe), and Jan Baum Gallery (Los Angeles).
Martin Facey has been an celebrated teacher of visual arts since 1980, first teaching at Santa Monica College and at UCLA where he was visiting faculty member from 1983-1985. In 1986 Facey joined the faculty at the University of New Mexico where his long teaching career was capped by a three-year stint as Department Chair from 2003-2006, a particularly successful period of renewal for this very large department of both art practices as well as art history.
Facey returned to his studio/home in Southern California in 2007 to resume a concentrated creative life.