TAG: You’re It!
TAG stands for The Artists’ Gallery which recently moved from Santa Monica Boulevard to Bergamot Station in Santa Monica, California. Bergamot Station dates from 1875 when the Red Line trolley stopped there on its route from downtown Los Angeles to the Santa Monica Pier. Now it is an eight-acre site housing art galleries and The Santa Monica Museum of Art.

Saturday, January 9, TAG held a reception showing the work of all their member artists. A friend and I were invited by our mutual friend Katherine Kean. I was really looking forward to seeing the new gallery and Katherine’s new piece entitled Clouds Swirling Over the Great Marsh. But it was not meant to be. As soon as we turned off Olympic Boulevard we saw cars stuck in the intersection at Cloverfield and Michigan, the street leading to Bergamot Station. We thought, wow, this TAG show must be really popular. I found out later that THIRTEEN galleries at Bergamot had scheduled opening receptions for that same evening! Guys, you need somebody to coordinate your parties… and guess what, I am available!!!

It took us several lights to turn off Cloverfield on to Michigan. Then we inched along Michigan to the parking lot. Once in the lot we couldn’t move. We just sat there. Eventually we were able to work our way around the other cars but many people had made their own parking spaces and we drove through a forest of cars with only inches to spare. People were backing up without looking and turning around when they should have kept moving forward… It was one of those parking situations I only see in my nightmares. I felt lucky to escape the parking lot alive. But not wanting to disappoint anybody, least of all ourselves, we attempted to find a parking space on the street but we had no luck there either, and as we drove further and further into neighborhoods we were not familiar with, we made the choice to abandon the attempt and drove back to the safety of Culver City and one of our favorite Thai restaurants where we could deflate on brown rice and jasmine tea.

A few days later, on Tuesday to be exact, I had a canceled appointment and decided on the spur of the moment to drive over to TAG when there would be some peace and quiet. As I was getting ready I thought wouldn’t it be wild if Katherine was sitting at the front desk. I had no idea what her schedule was (TAG is a cooperative where the artists take turns working at various tasks, gallery-sitting being one of them). As I walked in the door I only saw another lady who turned out to be the current president. Then Katherine came into view—and I can’t really say I was surprised. She said I must have felt her vibe, and probably I did!

The new space is really lovely with plenty of room to move around. They are busy remodeling an upper level so that all the artists can be represented even when there is a show dedicated to one or two of the members.

The current exhibit showcases one work from each member. As always with that group, I was very impressed with the quality of work. But, of course, my heart will go where my heart will go, and I was pulled towards two pieces in particular by Sue Keane and Joe Pinkelman. Keane’s Untitled (ugh, I’ve commented before on artists calling their work “untitled”… perleeze, give me a break…) is comprised of four undulating glazed ceramic tiles on wood. Pinkelman’s Head Teapot is listed as stoneware, decals, and enamel. You gotta see them in person—I didn’t want to stop looking at either of them and could easily find a spot in my living room for both.

Of course, Katherine Kean’s paintings are always inspiring and I never have to ask which ones are hers. Her style is very distinctive and I always love the subject matter she chooses.
Another of my favorite TAG artists is Anne M. Bray. Her entry in the show is entitled Twilight in pastel on paper (at least I think so as I stupidly wrote my notes in ink on a shiny business card and a day later the ink has smudged and I can barely read anything!). I saw a solo exhibit of hers a while ago and fell in love with her landscapes. Art is an emotional experience for me, sometimes good and sometimes bad, and if I connect with a work of art it doesn’t have to be in any particular medium.

Another familiar name for me at the show was Carole Garland. I was actually surprised by her piece Palming it Off—not what I expected from her. Experimentation is important for an artist and doing the same thing over and over and over again just because you can is not my idea of creativity... so I enjoyed the fact that this was something a little different.

There were many other artists I could comment on. Most of the work was really outstanding and it was a treat to see so much great artwork all in one place. This comprehensive show is on until the end of January, so don’t miss it, you hear?

TAG Gallery
2525 Michigan Avenue, D-3
(Bergamot Station)
Santa Monica, CA 90404
Tel: (310) 829-9556

Pillow Talk: Small Comforts In Hard Times

I have known Linda Jacobson since the late 80s/early 90s when I felt the need to return to making art after an abstinence of over 20 years. I took several of her courses at UCLA on creativity and spirituality in art. At the time I didn't have a clue what "spirituality in art" meant, but after many years, I do have a tiny clue.

Last night a couple of friends and I attended the reception for Pillow Talk at the Ruth Bachofner Gallery at Bergamot Station Art Center in Santa Monica where Linda is exhibiting a painting. From the press release: "The term “pillow talk” refers to a private, often intimate, conversation. Much of art is a form of pillow talk – an intimate dialogue between the artist, the materials and the intent/concept of the work. This intimate conversation is then sold as a product. The private becomes public. “Pillow Talk” is in conjunction with the Southern California Women’s Caucus for Art’s celebration of the significant influence of women artists on contemporary art."

Or, as Linda put it: "How we as women and artists comfort ourselves in these difficult times."

As I have stated on many occasions, I feel the purpose of viewing art is not necessarily to like what you are looking at. It is always amazing to me the variety of thought and creativity that comes out of different artists' visions of a singular subject. Some of the artists took the subject literally and created interpretations of pillows, others, anything but. I can't say there were many pieces that grabbed my attention. Nothing to which I had an emotional response. I liked Linda's contribution, "Sacred Altar," which is by the front door of the gallery and probably my favorite piece in the exhibit. Maybe because I am familiar with her work and therefore, in my comfort zone. As with all her paintings, it is "Other-worldly." Ah, I've said that about Katherine Kean's work too, but I identify with that. Their work is totally different, yet I make that connection between them, which I will call the physical manifestation of the spiritual.

There were 87 artists in the exhibit which may have been a mistake. If each artist invited ten friends... well, you get the picture. It was SO crowded and SO noisy, I did one spin around the room and left the cacaphonous gallery for the peace and fresh air outside. I don't do well in crowded situations anymore. Perhaps if I went back another day with an empty room I might view the exhibit in an entirely different way. But I won't have that luxury, so this is my memory.

We wandered over to the Track 16 Gallery. I was interested by the work exhibited by Mondongo, an Argentinian art trio, comprised of Agustina Picasso, Manuel Mendanha, and Juliana Laffitte. The best pieces were the Red Riding Hood tales which looked like mosaics but, as it was pointed out to me, were actually made with plasticine, one of my favorite play things as a child. I am always fascinated when artists use materials I would never think of using to make art. All those hours, days and weeks I spent molding objects with plasticene... I should have taken photos of my creations.