Artist; Scott Macleod (1956- ) American

18342816_10158667144005553_326170907868125217_nArtist; Scott Macleod (1956-
Artist Statement:
I was making sculptures & installations at a symposium1 in the Czech Republic in 1996.
One day I found a dartboard in a second-hand shop & realized that it was made of tightly-rolled paper, a kind of heavy paper or thin cardboard. I thought that I might be able to make something interesting by unwinding this dartboard.
The next day I carefully unwound most of the dartboard onto the third story floor of an 18th-century tower of the castle, leaving a small section at the very center, the bulls-eye.
I liked the result even more than than I’d imagined: to me it looked very much like a topographical map & it looked especially good in that room. This is one of my favorite installations ever, partly because it was such a simple idea. The piece remained in place for several weeks after I returned to the USA.
I liked this piece & wanted to make another one, but didn’t get a chance until 2001 when curator Jay Jensen of the Contemporary Museum in Honolulu, Hawai’i wanted to buy one for that museum. He asked me to make a couple samples & send him photos of them. I didn’t have enough room to leave them unrolled after taking photos, so I had, for the first time, to roll them up again. When I did this, I realized that, in a different way, these were as interesting when re-rolled as they were unrolled.
1 Mapováni Prostoru (Mapping Space), a symposium organized by Helena Hrdličková, then director of Galerie u Bilého jednorožce (the White Unicorn Gallery), the civic gallery of the Bohemian city of Klatovy. The symposium was held on the grounds of Hrad Klenová (Klenova Castle), about 20km away.
Because I couldn’t rewind them nearly as tightly as they’d originally been wound by machine, the painted dartboard patterns quickly degraded, often in a kind of spiralling away, like smoke from a chimney.
Sometimes, reversals of this disintegrating pattern occur: I think it’s the same type of phenomenon as when the wheels of a moving automobile look like they’re rotating in reverse even though the car is traveling forward. There is probably a mathematical algorithm that describes this effect. This reversal takes several distinct typical forms.
While the basic idea & method of crafting these objects remains consistent, I have discovered that there is great variety in what can be accomplished. Having made nearly 100 of these so far, I have a better understanding of what is possible, & better control over the material, But my control over the end result is still vague and intuitive, so I am still constantly surprised & delighted by what I have made, & am still discovering new possibilities for this work.
Scott MacLeod August 4, 2007

Artist: Richard Hendorf (1861 – 1939) German

Titled: North African market
Measures: 10 x 13.5 inches
Medium: watercolor on paper, signed lower right
Farhat Art Museum Collection

Exhibited widely thorough Germany and was a regular exhibitor in the Gorsse Berliner Kunstausstellung (Grand Berlin Art Exhibition) Won first prize for his painting yotled “Lady in Black”, now the painting is in the Mint Museum in North Carolina. His work is in countless private collections and numerous museums worldwide.

Artist: George Elbert Burr (1859 – 1939) American

Artist: George Elbert Burr (1859 – 1939) American
Titled: Tunisian Coast
Medium: Watercolor on paper
Measures: 9 x 11.5 inches
signed lower right R. Burr 18673169_10158747094160553_4073169323518317907_o
Farhat Art Museum Collection

George Elbert Burr
Born Ohio, 1859
Died Arizona, 1939

Ten years after his birth in Monroe Falls, Ohio, George Elbert Burr moved with his parents to Cameron, Missouri, where his father opened a hardware store. Burr was interested in art from an early age and his first etchings were created with the use of zinc scraps found in the spark pan under the kitchen stove. He then printed the plates on a press located in the tin shop of his father’s store.

In December of 1878, Burr left for Illinois to attend the Art Institute of Chicago (then called the Chicago Academy of Design). By April of the following year, Burr had moved back to Cameron. The few months of study in Chicago constituted the only formal training the artist was to have.

Back in Missouri, Burr heeded his family’s wishes by working in his father’s store. However, he did not abandon his art, often using his father’s railway pass to travel around the countryside on sketching trips. In 1894, Burr married Elizabeth Rogers, and the following year he became an instructor for a local drawing class.

By 1888, the artist was employed as an illustrator for Scribner’s, Harper’s, and The Observer. During that time, his illustrations were also published in Volume II of John Muir’s Picturesque California. In December of the same year, Burr relocated to New York City for several months to work on assignment for The Observer. Over the next several years, Burr worked and traveled extensively as an illustrator contributing to additional periodicals including The Cosmopolitan and Leslie’s Illustrated Newspaper.

In 1892, Burr began a four-year project to illustrate a catalog for the Metropolitan Museum of Art of Heber R. Bishop’s jade collection. After completing approximately 1,000 etchings of the collection, Burr used the money he earned on the project to fund a trip abroad. The artist and his wife spent the years between 1896 and 1901 sketching and traveling on a tour of Europe that spanned from Sicily to North Wales. After their return from Europe, the Burr’s settled in New Jersey where Burr sustained a living through the sale of his etchings and watercolors. During the next few years, Burr’s watercolors were displayed in galleries and exhibitions along the east coast and as far west as Kansas City, Missouri.

In 1906, the couple moved to Denver, Colorado, in an effort to improve George’s poor health. While in Colorado, Burr completed Mountain Moods, a series of 16 etchings. His years in Denver were highly productive despite his poor health. He gained membership to art organizations including the New York Society of Etchers and the Brooklyn Society of Etchers (later renamed Society of American Etchers). Burr’s winters were spent traveling through the deserts of Southern California, Arizona, and New Mexico. In 1921, Burr obtained copyrights on the last of 35 etchings included in his well-known Desert Set.

Burr’s failing health prompted a move to a more moderate climate and the couple settled in Phoenix, Arizona, in 1924. In Phoenix, Burr served as president of the Phoenix Fine Arts Association and participated in the city’s first major art exhibition. Burr remained in Phoenix until his death in 1939.

Throughout his lifetime Burr worked in a variety of mediums creating approximately fifty oil paintings, over a thousand watercolors, two-thousand pen-and-ink drawings and over twenty-five thousand etchings all pulled from his own presses.

Artist: Marc Pally (1946- ) America

Signed: on verso, dated 1983
Medium: Oil on Canvas
Measures: 72.00 x 48.00 inches 182.88cm x 121.92cm)
Exibited: Ulrike Kantor Gallery
Farhat Art Museum Collection

Marc Pally was born in Los Angeles in 1946, attended Universidad de Guanajuato, Mexico in 1964 followed by the University of Nottingham, England in 1966-67. He received his BA from Antioch College, Yellow Springs, OH and his MFA from CalArts in 1978. He was included in a group exhibition at San Diego Institute of the Arts in 1975 and another in 1977, “Drawing Show” at Gallery 91, Brooklyn; he was then in various group exhibitions at CalArts, Los Angeles Contemporary Exhibitions (LACE), and Claremont Graduate School, Libra Gallery. His early one artists shows were with the Ulrike Kantor Gallery in 1981 and 1984. Pally first exhibited with Rosamund Felsen Gallery in 1986. He was the “New California Artist XIII,” at Newport Harbor Art Museum for which there was a catalogue. He continued to be included in numerous group exhibitions such as at Fisher Gallery, USC; Art Center College of Design, Pasadena; Newspace Gallery, Los Angeles, Richard Khuhlenschmidt Gallery, Los Angeles; Louis Meisel Gallery, NY; “First Annuale,” curated by Ned Rifkin, LACE; UC Irvine; “CALARTS: Skeptical Belief(s),” Newport Harbor Art Museum; Museum of Contemporary Art, Los Angeles; College of Creative Studies, UC Santa Barbara; Selby Gallery, Ringling School of Art & Design, Sarasota; “Between Reality and Abstraction, California at the End of the Century,” traveled from Art Museum of South Texas, Corpus Christi; Honolulu Academy of the Arts; and numerous venues.

Pally’s work is the in the Permanent Collection of Los Angeles County Museum of Art, Portland Museum, Portland, Maine; and UC Santa Barbara. For many years he has worked with the Cultural Affairs Department of the City of Los Angeles to develop the “Los Angeles Cultural Masterplan.” Previously he was a design team member of the San Diego Department of Water Headquarters Facility and had been Program Coordinator for California/International Arts; Executive Committee member of Los Angeles Task Force on the Arts; and City Planner, Community Redevelopment Agency of Los Angeles, Art in Public Places Program. Today the artist is very involved with arrangements for public arts. He lives in Los Angeles.