John McLaughlin (1898 – 1976)

John McLaughlin (1898 – 1976) American
Oil on wood panel, 30 x 26 inches.
Signed lower left McLaughlin
Farhat Art Museum Collection.

John McLaughlin is known primarily for his hard-edged, geometric style of painting. McLaughlin was born in Sharon, Massachusetts in 1898. He was a part-time painter even while he worked as a dealer in Japanese prints and also as a translator during World War II in Japan, China, and Burma.

He and his wife lived in Dana Point, California where McLaughlin, a self-taught artist, started his painting career at the age of forty-eight. His experience in the Far East and his growing knowledge of European abstract art led him to a non-objective, quiet form of art. He concentrated on color and form to create a neutral image devoid of subject. His paintings are understated and self sufficient in that they do not have a relationship to one another, they exist entirely alone. His work is not created for the purpose of self-expression; but rather is designed to evoke silent reflection within the viewer.

His first solo exhibition was in 1952 at the Landau Gallery in Los Angeles and subsequent one-man shows followed at the Corcoran Gallery of Art, Washington D.C. (1968), and the Pasadena Art Institute, California (1956, 1963). He participated in group exhibitions at the Whitney Museum of American Art, New York (1962), and the Los Angeles Institute of Contemporary Art, California (1974).

He died in Dana Point in 1976.

Dale Clifford Peche

Dale Clifford Peche (1928 – 2012) American
Titled: Hyde Street Car
Signed Lower Left
Measures: 18.00” x 24.00” (45.72cm x 60.96cm)
Oil / Board
Farhat Art Museum Collection.

Dale Peche (born 1928 – 1912 ) American
Titled: Lombard Street San Francisco, Ca
Oil on board measures 12×16 inches
signed lower right
Farhat Art Museum Collection

DOMENICK TURTURRO ( b.1936) Italian / American

DOMENICK TURTURRO ( b.1936) Italian / American
“Untitled – Abstract, 1967”
Oil on canvas. 60 x 67 inches.
Farhat Art Museum.

Born: New York – May 13, 1936
Education
Cooper Union, New York
Pratt Institute, Brooklyn, NY
New School from Social Research, NY
Grants
Gottlieb Foundation, April 1984
Museums
Joseph Hirshhorn Museum
Boston Museum of Fine Arts
Museum of Modern Art – Lending Department
Witherspoon Museum, North Carolina
The Greenville County Museum, South Carolina
Collections (Selection)
Chase Manhattan Bank (Rockefeller Collection)
ABC
Union Carbide Corporation
AP Baer, Jr. New York
Bache & Company
Joseph H. Hirshhorn Collection
Ivest-Wellington Corporation, Philadelphia
Steven Pain, Boston
Montgomery Securities Limited, San Francisco
Tom Weisel Collection, San Francisco
Collection of Jerry Treisman, New York
Touche Ross, Newark
All-over abstraction tends to lure painters toward heroics. Domenick Turturro’s new paintings show all-over patternings, yet he avoids the difficulties of his style admirably. They are covered in a gestural fashion, but the artist’s hand is always guided by a notion of shape particular to each work. Sometimes this shape is islandlike and orange, floating in profusion against a dark background. Sometimes the shapes are fan- or flower-like, scraped onto the surface in arcs to achieve an effect of bright translucency. Occasionally, a very subtle reference to printed fabrics is made. Here, low-keyed shapes are repeated across the surface with variations that suggest the play of very soft interior light.
Turturro’s range of color is extraordinary, from keyed-up, “artificial” aquas and magentas to maroons and ochres which seem almost to have acquired a patina of use. This latter effect is an illusion, a helpful one. It reminds the viewer that paintings do indeed have a use, they are intended to engage the eye. This can be done, as so many allover painters attempt to do by overwhelming the eye. Turturro avoids the grandiose by holding the scale of pictorial incident to a very intimate scale. The eye enters his paintings where shapes float toward each other or touch or overlap in especially interesting ways. The eye stays with “the painting because it is always guided toward variations” on the initial incident whatever it may be in a particular viewing. Sometimes the eye is drawn over this surface. Sometimes it is drawn into the shallow space between shapes.
Occasionally the patterning is so complex that one almost has the sense of seeing behind shape, another illusion, this time a quietly dazzling one. The illusion means, in effect, that Turturro’s imagery finds a completeness, a selfenclosed sufficiency, in spite of its potential limitlessness. Instead of exhausting themselves in striving for the monumental, these paintings come to rest in a beautifully balanced realization of their particular premises.
SELECTED GROUP EXHIBITIONS
Aspects Gallery, New York
A.M. Sachs Gallery, New York
Al bright Knox Art Gallery
Members Gallery, Buffalo, New York
21st New England Silvermine Guild, New Canaan, Conn.
SELECTED ONE-MAN SHOWS
1968
Allan Stone Gallery, New York
1971
Allan Stone Gallery, New York
1974
Allan Stone Gallery, New York

Arturo Elizondo ( Mexico born 1956 )

Arturo Elizondo ( Mexico born 1956 )
Measures: 99.50″ x 74.88″ (252.73cm x 190.20cm)
Created:1997-1998
Titled: El-Refugio. Oil / Canvas
Farhat Art Museum Collection.

http://www.memomarquez.com.mx/blog/arturo-elizondo-fotografo-en-puebla-memo-marquez/
STUDI

1984
Escuela de San Carlos, División Posgrado, Javier Suárez Workshop, Città del Messico, Messico
1981
Escuela de San Carlos, División Posgrado, Javier Suárez Workshop, Città del Messico, Messico
1981
Escuela Nacional de Pintura y Escultura, La Esmeralda, Città del Messico, Messico
1977
Diseño Gráfico en la Universidad de las Américas, Puebla, Messico

PREMI

2004
XII Bienal Rufino Tamayo, Mencion Honorifica, Messico,
1988
Cuarta Bienal de Pintura Rufino Tamayo, Mención Honorífica, Palacio de Bellas Artes, Città del Messico
1987
Séptimo Encuentro Nacional de Arte Joven, Instituto Nacional de Bellas Artes, Aguascalientes, Primer Lugar, Messico

MOSTRE PERSONALI

2004
Casa llena, Espacio Alternativo La Gloria, Messico DF
Obra reciente, Mackey Gallery, Houston Texas, USA
Last Work. Annina Nosei Gallery, NY, USA
2003
Pinturas Recientes, Galleria Ramis Barquet, Monterrey, Messico
2002
Anexos, Kunsthaus Santa Fe, San Miguel Hidalgo, Gto, Messico
2001
Instalación y Fotografías, Kunsthaus Santa Fe, San Miguel de Allende, Gto, Messico
Nueva Pintura, Centro Cultural Nigromante, INBA, San Miguel de Allende, Gto, Messico
New Paintings, Annina Nosei Gallery, New York, NY, USA
Pinturas Extraviadas, Sala Hermenegildo Bustos, Universidad de Guanajuato, Gto, Messico
2000
Recent Work, Galería OMR, Città del Messico, Messico
1998
Anina Nosei Gallery, New York, NY, USA
1997
Galería Ramis Barquet, Monterrey, NL, Messico 1996
Annina Nosei Gallery, New York, NY, USA
1995
Arturo Elizondo. Obra reciente, Galería OMR, Città del Messico, Messico
New paintings, Grace Borgenicht Gallery, New York, NY, USA
1994
New paintings, Carrington/Gallagher, San Antonio, TX, USA 1993
Homenaje a Hermenegildo Bustos, Galería Ramis Barquet, Monterrey, NL, Messico
Recent works, Galería Berini, Barcelona, Spagna
1992
Celebración funeraria de un accidente histórico, Cavin-Morris, New York, NY, USA
Obra reciente – Arturo Elizondo, Galería Berini, Barcellona, Spagna
1991
Arturo Elizondo, Galería OMR, Città del Messico, Messico
1990
New paintings, Cavin Morris, New York, NY, USA
1989
Arturo Elizondo, Galería Florencia Riestra, Città del Messico, Messico
1988
Ofrenda ritual, homenaje a San Miguel Allende, Centro Cultural El Nigromante, San
Miguel Allende, Gto, Messico
1987
Pintura y Dibujo, Centro Cultural El Nigromante, San Miguel Allende, Gto, Messico

MOSTRE COLLETTIVE

2006
Negra Sangre del Dibujo,exposicion itinerante, CONACULTA, Messico
Juarez variaciones de una imagen, Secretaria de hacienda, Messico DF
2005
Muestra de Arte Mexicano Contemporaneo, Cubic Art Center, Dashanzi, Beiging, China.
La Voluntad Radical, Museo Universitario del Chopo, UNAM, Messico DF
Encuentros, Fomento Cultural Banamex, Messico DF
Espejos, Instituto Cultural Mexicano, Whasinton DC, USA
2001
En busca del paraíso, 231 años de arte de paisaje, Museo de la Ciudad, Querétaro, Qro, Messico
2000
ARCO’00, Stand Galería OMR, Madrid, Spagna
1999
ARCO’99, Madrid, Spagna
Centro Cultural el Chorro, San Miguel de Allende, Gto, Messico
Today and everyday, una exposición para niños. Galería Ramis Barquet, New York, NY, USA
A través del tiempo, más allá del lugar, University Art Gallery, San Diego CA., USA
1998
III Salón de Arte Bancomer, Museo de Monterrey, Monterrey, NL, Messico
Mexico Reconfigured, Associated American Artists, New York, NY, USA
1997
Macia Good Gallery, Atanta, GA, USA
Galería OMR, Città del Messico, Messico
Artistas Latinoamericanos, (a cura di Chac Mool Gallery, LA), Napoli, Italia
Passione per la vita, Centro Culturale Alessandra Borghese, Napoli, Italia
Mexico : Self-Portraits, Associated American Artists, New York, NY, USA
Salón de Arte Bancomer, Città del Messico
Museo de Arte Moderno, Città del Messico
Annina Nosei Gallery, group summer show, New York, NY, USA
Subasta Sanmiguelenses Pro CASA, San Miguel de Allende, Gto, Messico
Annina Nosei Gallery, New York, NY, USA
1996
ARCO 96, Madrid, Spagna
Obra nueva: Exposición colectiva, Galería OMR, Città del Messico, Messico
Salón de Triunfadores. XXX Aniversario de Arte Joven, Museo de Aguascalientes
Convento del Carmen, Guadalajara, Jal.
Museo de la Secretaría de Hacienda y Crédito Público Antiguo Palacio del Arzobispado, Città del Messico
Museo de Historia Mexicana, Monterrey, NL, Messico
Art Chicago, Chicago, IL, USA
Autorretrato, Museo di Arte Moderna, Città del Messico
Corona Roja. Sobre el Volcán, Centro Atlántico de Arte Moderno, Las Palmas de Gran Canaria, Spagna
Pintores y escultores mexicanos, Galería de Arte Mexicano, Città del Messico
The spirit of the Latin America painting, Associated American Artists, New York, NY, USA
New Museum for Contemporary Art, New York, NY, USA
Marsha Wood Gallery, Atlanta, GA, USA
1995
ARCO’95, Madrid, Spagna
Artists out, Neuberger Museum, New York, NY, USA
Expoarte ’95, Guadalajara Jal, Messico
Inaugural exhibition, Annina Nosei Gallery, New York, NY, USA
Telling Tales, Rotunda Gallery, Brooklyn, NY, USA
1994
ARCO’94, Madrid, Spagna
Pequeño Formato Latinoamericano, Luigi Marrozzini Gallery, San Juan, Puerto Rico
Espíritu Forma: Contemporary Artists from Mexico, Nexus Gallery, Atlanta, GA, USA
1993
Pasado y presente del Centro Histórico, Palacio de Iturbide, Città del Messico ARCO’93, Madrid, Spagna
Animal body, Cavin-Morris Gallery, New York, NY, USA
Plant body, Cavin-Mirrins, New York, NY, USA
The return of the Cadavre Exquis, The Drawing Center, New York, NY, USA
Aquí y afuera, Cavin-Morris, New York, NY, USA
Europalia, 93, Actualidad Plástica en México, Provinciaal Museum voor Moderne Kunst, Oostende, Belgio
10 Artistas de México, Grace Borgenicht Gallery, New York, NY, USA
1992
Latino, Galería Fausto Berini, Barcellona, Spagna
Other drums: visonary works, Cavin-Morris, New York, NY, USA
Family Portraits, Diane Brown Gallery, New York, NY, USA
Magical Portraitures, Throckmorton Fine Art, New York, NY, USA
Carla Stellweg, New York, NY, USA
1492, Subasta Museo d’Arte Contemporanea, Monterrey, NL, Messico
The enduring thread, The Rotunda Gallery, Brooklyn, NY, USA The influence of religion and magic on Latin American Art, Powerhouse Corporate Space, Washington, DC, USA
1991
Latin American works on paper, Carla Stellweg, New York, NY, USA
Ancient dreams/modern myths, Parallel Project, Los Angeles, CA, USA
La naturaleza simbolizada, Galería de la Secretaría de Hacienda, Città del Messico, Messico
El arte de la suerte, Galería OMR, Città del Messico
New Latin American Paintings, Arnold Herstand & Company Inc., New York, NY, USA
Basel Art Fair, Basel, Svizzera
Art Chicago, Chicago, IL, USA
Summer invitational: Small Works, Cavin-Morris, New York, NY, USA
1990
Día de muertos, Museo de Arte Moderno, Città del Messico, Messico
Day of the dead, Carla Stellweg, New York, NY, USA
i>300 Decades of mexican art, Cavin Morris, New York, NY, USA
Carla Stellweg, New York, NY, USA
1988
Tercera Bienal de Dibujo Diego Rivera, Museo del Pueblo, Guanajuato, Messico
Los pintores escultores, La Quiñonera, Città del Messico
Plástica de San Miguel, Centro Cultural José Guadalupe Posada, Città del Messico, Messico
Exposición de Maestros, Centro Cultural El Nigromante, San Miguel Allende, Gto, Messico
Salón de la Plástica, Sección Dibujo, Galería del Auditorio Nacional, Città del Messico, Messico
1987
Salón de la Plástica, Sección Pintura, Galería del Auditorio Nacional, Città del Messico, Messico
Exposición de Maestros, Centro Cultural El Nigromante, San Miguel de Allende, Gto, Messico
1986
Grupo plástica de San Miguel, visiones diversas, Alianza Franco Mexicana, San Luis Potosí, Messico
Segunda Bienal de Pintura Diego Rivera, Museo del Pueblo, Guanajuato, Messico
Sexto Encuentro Nacional de Arte Joven, Istituto delle Belle Arti, Aguascalientes, Messico
Plástica San Miguel, Teatro Angela Peralta,San Miguel Allende, Gto, Messico
1985
Salón Nacional de la Plástica, Sección Pintura, Galería del Auditorio Nacional, Città del Messico
Nuevas generaciones, Galería Metropolitana, Città del Messico, Messico
1984
El paisaje de Veracruz, Gobierno del Estado de Veracruz, Messico
Primera Bienal de Dibujo Diego Rivera, Museo del Pueblo, Guanajuato y Museo del
Palacio de Bellas Artes, Città del Messico, Messico
1982
Segundo Encuentro Nacional de Arte Joven, Aguascalientes, Messico
1981
Cuatro jóvenes pintores de La Esmeralda, Instituto Mexicano del Pétroleo, Città del Messico

ARTURO ELIZONDO

Biografia
Opere
Mostre

Robert Dowd (1936 – 1996) American

Robert Dowd (1936 – 1996) American
Titled: ” Ten Thousand Dollar Bill”
Signed: Lower Right oil on canvas
Measures:48.00″ x 96.00″ (121.92cm x 243.84cm)
Farhat Art Museum Collection.

Robert Dowd (1936 – 1996) American
Titled: ” Six Presidents
Signed Lower Right
58.25″ x 116.00″ (147.96cm x 294.64cm)
Oil and pencil / Canvas
Farhat Art Museum Collection.

https://en.wikipedia.org/wiki/Robert_Dowd

Artist Robert Dowd (1936 – 1996) was well aware of the power and glory of money, and during the 1960s he was “making” it after his own fashion — creating drawings and paintings that satirically reinterpreted the face of American currency. In one series he substituted a homage to his own heroes — making an image in the style of such artists as Vincent van Gogh, Pablo Picasso, Jasper Johns — in place of the presidents usually slotted in the oval (when once there was an oval). In another series he depicted the back of a $10 bill with the stately U.S. Treasury building standing like a Greek temple — except this one is on fire or hit by a cyclone. The career of this now-obscure artist is revisited in “Robert Dowd: Pop Art Money” at the Frederick R. Weisman Museum of Art at Pepperdine University, through April 5. Michael Zakian, director of the museum and curator of the show, has been researching Dowd for the last year and a half, finding most of the material in the artist’s private papers, since little has been written about him. “He was like a storyteller,” Zakian says, “and he used money as a way of telling stories about people’s priorities, wants and desires.”. In 1962, Dowd was recognized as a pioneer of Pop art. He was included in the landmark “New Painting of Common Objects” at the Pasadena Art Museum alongside the likes of Andy Warhol, Jim Dine, Wayne Thiebaud. It was among the first Pop art exhibitions in the country. For the next six years, Dowd made gargantuan-size drawings and paintings of money, some nearly 10 feet wide, onto which he projected his counterculture humor as well as his own valuations of importance. Even a visit from the Secret Service didn’t stop him. He turned to painting postage stamps, but continued his money series in private. His career never really took off, despite an effort to reinvent himself by moving to New York in the early 1970s. “The Pop art that achieved international recognition and lasting fame was reductive, detached, and impersonal,” Zakian suggests in his catalog essay. “The most celebrated Pop artists such as Andy Warhol, Roy Lichtenstein and Ed Ruscha created a cool, aloof art that mimicked the emotional indifference of mechanical reproduction. Dowd, in contrast, was always engaged with his heart and his hand, and given to a prankster’s sensibility. He also, as the show reveals, went on to other concerns — going through a Magritte-like Surrealist period in the 1970s, an exploration of abstraction inspired by his interest in quantum theory and Asian philosophy in the 1980s. He returned to Los Angeles in 1985, and 10 years later he died, destitute, at the Veterans Affairs hospital in Westwood. Today Dowd is mainly known for his money series, which has been featured in two traveling exhibitions — the Smithsonian’s “Realm of the Coin: Money in American Art” and the Federal Reserve’s “Show Me the Money: The Dollar as Art.” For artists, playing around with money’s design was fun and challenging. Mary Anne Goley, director of the fine arts program for the Federal Reserve, even held that, “Working with currency can engender patriotic feelings.” L.A. Times