Monday, March 20, 2017

The Rockwell Museum, Corning, New York



You have to love this wild building. It's formerly the City Hall in Corning, NY, now transformed into the Rockwell Museum. My wife Alice and I visited there last weekend and became instant fans. Founded some 41 years ago with a focus on the art of the West, the Museum has recently embarked on a mission to broaden its focus to other schools of art. 






And since January, it has a new Director, Brian Whisenhunt. Brian until recently was the Director at the Museum of the Southwest in Texas and before that Director of the Swope Art Museum in Indiana (where my solo exhibition continues through March 25, 2017. It really is a small world). 





One of the first pieces to greet you as you enter the Museum is this bronze Deborah Butterfield untitled horse from 2000 (above). Nearby is the temporary exhibit Modern Masters, Contemporary Icons on loan from the Old Jail Art Center in Albany, TX. I'd have posted images of some of its works (including Thomas Hart Benton, Grant Wood, and Warhol among others) but Museum asks that you not photograph work borrowed from other  collections. Modern Masters is on view through April 23, 2017.

Following is a quick tour of some of Rockwell's permanent collection.





Here's my wife Alice in one of the large upstairs galleries that has an enormous Albert Bierstadt oil Mt. Whitney on the far wall.





A favorite of ours was this etching by Gene Kloss (Am. 1903-1996), one of the Taos, NM circle of artists. Penetenites by Moonlight, circa 1950, depicts a religious procession under a tumultuous sky. In 1925 Kloss changed her name to the more masculine sounding "Gene" in hope of avoiding the prevailing bias against female artists in her day.







I was struck by the atmosphere and depth in an oil by an artist who was new to me, Sydney Laurence (1865-1940), Mt. McKinley from 1922.






N.C. Wyeth (1882-1945), oil I shall never forget the sight... from 1918.







The Winter Campaign, an oil by Frederic Remington (1861-1909) was painted during the artist's final year. It is a scene from the military campaigns against the Native American Remington witnessed as a correspondent during the the 1880's.







Wonderfully light-filled shadows are a hallmark of this oil by Joseph Henry Sharp (1859-1953), The Gift Dance Drummers, circa 1920. 












A Time of Hunger, an oil from 1975 by the painter John F. Clymer (1907-1989). Several years ago I had an exhibition of my own paintings in the Clymer Museum in Ellensburg, WA that is devoted to Clymer's art. I lived in that town for a year when I taught painting at Central Washington University but unfortunately wasn't aware of Clymer's work in those days. I think he had a terrific  feeling for the snow in this painting.





A custom made metal bear emerges from one of light fixtures in the Museum's Members' Gallery. It made me laugh.






Here's Alice in one of the galleries. The day we visited the town of Corning was bitterly cold, though the Rockwell itself was cozy. Nonetheless I think Alice was secretly wishing there was a blaze going in this fireplace.




Wednesday, March 15, 2017

Visiting My Oil Uncharted II at Arnot Art Museum





Arnot Art Museum in Elmira, New York recently opened their innovative exhibition 23 Pairs: Considering Compare and Contrast that matches 23 works from their own collection with 23 works borrowed from museums, galleries and private collections across America. I was honored to have my painting Uncharted II included in the show paired with the work of one of my heroes, the American Impressionist Willard Metcalf. 

My wife Alice and I drove up to Elmira over the weekend to visit the Arnot for our first time to see the show.




Christina Johnson who heads up Education for the Arnot kindly gave us a personal tour of the entire museum. Here she is with some of the signage at the beginning of the 23 Pairs show.






Here I am (grinning ear to ear) standing next to my painting with Metcalf's delicate oil The Hills in February at the left. The March issue of Fine Art Connoisseur magazine has a page devoted to the 23 Pairs show that reproduces Metcalf's and my painting. 





The Arnot Art Museum has an impressive permanent collection. One of my favorite canvases greets you when you first enter the Museum. By William-Adolphe Bouguereau (French 1825 - 1905) it is an allegory titled Art and Literature. In my opinion it is an unrivaled masterpiece of abstract composition.  In my years coming up as an art student Bourguereau was often dismissed as a hopelessly rigid and outdated painter.  But I think the pendulum is swinging back in Bouguereau's favor.






You can see more examples of Arnot's permanent collection on their website

Here's a photo of the contemporary addition that was added to the Arnot Museum in 1983 greatly expanding the scope of the galleries. It has undergone extensive renovations since that time and has elegant interior spaces for its art. The 23 Pairs exhibition is up through August 12, 2017. It's definitely worth a visit.






Monday, March 6, 2017

Eskenazi Museum of Art- A Homecoming


John Frederick Kennett (Am. 1816-1872), Water Scene
oil on canvas, Eskenazi Museum of Art


There are always a few places that exert an out sized influence on our lives. For me one such place was the Eskenazi Museum of Art in Bloomington, IN (formerly the Indiana Unversity Art Museum).

The day after the opening reception for Swope Art Museum's exhibition of my paintings done in Edward Hopper's studio my wife and I drove over from Terre Haute, IN to visit my old grad school, Indiana University.  Though I got my MFA degree in painting at IU in 1972 this was the first time since then I was able to visit the Museum.



Me with Eskenazi's Kennett, Feb. 2017



In 1970 the painting above by John Kennett was the first piece to catch my eye when I arrived at the campus Museum, mostly because the scene closely mirrored the look of the beach where I grew up on Lake Ontario outside of Rochester. Is there any other painting that captures the glow of light over calm waters so well? Understatement, this painting taught me, can be powerfully evocative.





Only months before my arrival in Bloomington the Museum had staged a huge exhibition celebrating the University's sesquicentennial, The American Scene: 1820-1900, organized by an art historian who I would later study with, Louis Hawes. 

While I missed the exhibition, its richly illustrated catalogue more than anything else opened my eyes to the rich heritage of American landscape painting. As you can see from the photo of its battered cover, that catalogue became something of a bible for me. I carried it everywhere, even taking it out into the field with me when I painted my first landscapes.



Edmund Tarbell (Am. 1862-1938), A Girl Mending
1905, Eskenazi Museum of Art


The Museum grew considerably in the years since I left both in its collection and with opening a vastly larger contemporary facility. Here are a few of the gems that were on display last month when we visited.



Robert Henri (Am. 1865-1929), Portrait of
Edith Haworth, 1909, Eskenazi Museum of Art






Sanford Gifford (Am. 1823-1880), Eskenazi Museum of Art



One piece that wasn't hanging that day from Eskenazi's collection is this panorama by Jasper Cropsey.


Jasper Francis Cropsey (Am. 1823-1900), American  
Harvesting, 1851, Eskenazi Museum of Art


It was one of the other paintings that taught me critical painting lessons. Prior to this most of my painting in my undergraduate days at Oberlin was about my excitement in contrasts of color and making intriguing flat shapes. In front of this painting though I remember falling into Cropsey's far distance. He artfully arranged his seven or eight major planes to march back into the deep space he celebrated. After this painting I never saw pictorial space the same way again. 

I had many painting teachers along the way- all of them helped me in some way, a few of them inspired me profoundly. But if thank you's are to be written, I also owe a note to this Museum in south central Indiana.


Wednesday, March 1, 2017

Swope Art Museum Permanent Collection Part II




Here are a few more pieces from Swope Art Museum's impressive Permanent Collection. My wife Alice's favorite sculptor is Paul Manship (Am. 1885-1966). Commanding your attention in Swope's lobby is a terrific painted plaster cast of his Diana. Swiftly moving, a dead shot with a bow and arrow, and always accompanied by her faithful hounds she's an impressive figure. No wonder Alice liked her. I'm a big fan too.





The Swope's first Director was John Rogers Cox (1915 - 1990) who when he took the job was the youngest museum director in the country. That he had a good eye is attested to by his purchases of widely acclaimed paintings by Edward Hopper, Thomas Hart Benton and Charles Burchfield. Cox was an accomplished painter himself, best known for his visionary landscapes. These two are in Swope's Collection: above Scales Mound from 1974, below White Cloud from 1943 & 1946.





Artist Sketching, Milton on the Hudson by George Inness (1825-1894) below is an extremely subtle painting. I fear my photograph doesn't do justice to the picture's wonderfully palpable sense of atmosphere.





Bruce Crane (Am. 1857- 1937) painted Grey Dawn with a similar devotion as George Inness to capturing the overall effect of a silvery atmosphere wrapped over the emerging landscape.





I get such a kick out of exhibiting my paintings in a museum's galleries alongside artists like the ones I've shown. I am a former abstract painter and to this day I have a contemporary eye. But  in the work of these artists who went before me are the echoes of so many of the themes I explore in my own work. 


Philip Koch, Edward Hopper's Kitchen: Open Door
oil on canvas, 40 x 60 inches, 2016 hanging in one of  
Swope's galleries.

Every generation naturally sees and feels a little differently. The way we see light for example has shifted slightly from how our forebears experienced it. As one walks into my show at the Swope from the galleries hung with the work of the earlier painters there is an inescapable change in color and mood. 



 Exhibition catalogue for Swope Museum's Light and Shadow: 
Paintings and Drawings by Philip Koch from Edward
 Hopper's Studio

The show of my work at the Swope Museum runs through March 25, 2017. Terre Haute Living magazine's March issue is just out with an interview with Susan Baley, the Museum's Director, and a good number of photographs of my current exhibition. Here's the link.



Philip Koch outside Swope Art Museum with
the banner for the exhibition.





Friday, February 24, 2017

Swope Art Museum Permanent Collection Part 1


Having visited the Swope Art Museum several times before, I knew that it had a remarkable Permanent Collection. We traveled there earlier this month for the opening reception for their current exhibition of my own paintings. Naturally we wanted to see the work in their Collection as well. Above is my wife Alice standing next to Swope's Thomas Hart Benton painting Threshing Wheat from 1938-39. The tractor's smoke and the clouds in the painting seem to move of course,  but in Benton's lively imagination his piles of wheat and the distant hills pulsate as well.


Art can transport us to a different place or into a different mood. A real gem in Swope's Collection is Grant Wood's Spring in Town, oil, 1941. 


While painted in the threatening early years of WWII, it exudes a quiet optimism as we watch the figure preparing the ground for planting.  The garden's freshly turned earth is magically dark and fertile looking. I want to take my shoes off and feel that dirt between my toes. Apparently this was Grant Wood's last painting. It seems to me to be a great note to go out on...



The exhibition of my own paintings at the Swope focuses on the work I made during my 16 residencies in Edward Hopper's Truro, MA studio. However I have also fallen in love with the work of one of the reclusive Hopper's few friends, the watercolorist Charles Burchfield. Though Hopper and Burchfield painted in dramatically different ways they each had a profound respect for each other's work.




Here I am with the Swope's large Burchfield watercolor Old Houses in Winter. Burchfield loved to tinker with his painting in his studio. He worked on this one from 1929 - 1941. 

These last two years I have been the Artist in Residence at the Burchfield Penney Art Center in Buffalo, NY (BPAC). It has the voluminous 25,000 piece Burchfield Archives. Happily I was given access to study hundreds of Burchfield's working drawings that are rarely seen. Here's one that I photographed in the Archives that is huge. Burchfield joined together several sheets of paper to allow him to work at the 4 to 5 foot wide scale often used in his major watercolors. While not identical to the subject of Swope's Burchfield, this drawing shows a very similar cluster of run-down old buildings. 


BPAC's drawing reveals Burchfield's art was a complicated affair- it could be wildly fanciful or even darkly moody. But he had a craftsman-like side that often liked to plan out his ideas ahead of time as he was doing here. 

Nancy Weekly, the Curator of the Burchfield Collection at BPAC, told me she feels Burchfield's freshness of execution often came from the way he would "rehearse" the strokes he wanted his brush to make on separate sheets of paper. I wonder if the drawing I photographed above wasn't part of the preparation for the Swope's Old Houses in Winter.


In a few days I'll show some more favorites from the Swope's Collection in a new blog post.

Swope's show of my own work continues through March 25, 2017. Hope many of you can get to visit the Swope and see it and their Collection in person.



Monday, February 13, 2017

Swope Art Museum Exhibition Part II


This is me last week in Terre Haute, Indiana grinning next to Swope Art Museum's famous Hopper oil, Route 6, Eastham from 1941. 


Here are some more images of Swope's current exhibition Light and Shadow: Paintings and Drawing by Philip Koch from Edward Hopper's Studio (through March 25, 2017). Susan Baley, Swope's Director, conceived of the show to connect some contemporary art with some of the key artworks from the founding collection when the Swope opened to the public 75 years ago. 



Here's the signage at the entrance to the three galleries the Museum has devoted to my work.



In one of the two larger galleries, a  panorama of three of my large landscape oils- left: After the Storm III, 45 x 90 inches, 1986, middle: Horizon, 40 x 60 inches, 2016, right: Down to the Bay, 36 x 72 inches, 2008. The lighting on these paintings in the gallery was just perfect to show their colors.





Below: In the other large gallery- left: Truro Studio Kitchen, oil, 40 x 30 inches, 2016, middle: Edward Hopper's Truro Studio Kitchen, vine charcoal, 8 x 10 inches, 2012, right: Edward Hopper's Truro Studio Kitchen: Open Door, oil, 40 x 60 inches, 2016.



A detail of the middle drawing- this is where Hopper and his wife Jo ate their breakfast.




Another view:



Below: In the opposite corner of the same gallery, two views of Hopper's bedroom. At right: Truro Studio: Two Rooms, oil on canvas, 36 x 48 inches, 2016. At left an earlier drawing of the same bedroom closet, Hopper Bedroom III, vine charcoal, 7 x 14 inches, 2012.





Here's a close up of the small drawing in the distance in the photo above, Hopper Bedroom III. It has been an incredible help to me to be able to observe the studio's interior at all times of day over the course of years. Making drawings served as preparation to tackling this closet in oil at a large scale. 













Tuesday, February 7, 2017

Swope Art Museum Exhibition Part 1


Left: Philip Koch's Morning at the Route 6, Eastham House,
oil on canvas, 30 x 60 inches, 2016. Right: Edward Hopper.
Route 6, Eastham, oil on canvas, 1941. 

The above photo was taken last weekend in one of the three galleries Swope Art Museum has devoted to their new show of my paintings done during my residencies in Edward Hopper's Truro, MA studio. Hopper was the big influence on me when I was a young artist. Naturally it is a deep honor to have my work hanging next to that of the man who was my greatest teacher.  






The Friday evening opening for the show was probably the largest turnout I've ever had for one of my exhibitions. Swope Museum did a wonderful job installing and lighting the work. 





There must have been ten people, none of them known to me, who came up to me the during the reception to say they saw the common thread that runs through Hopper's art and my own, but that they liked how my paintings had a different handling and feeling to them. It was a very sweet experience for me. 



Swope Museum's Director Susan Baley with 
Hopper's Route 6, Eastham

Swope has a stellar collection of American realist paintings from the first half of the 20th century. Most prominent of them is  Hopper's Route 6, Eastham. All three of the works I made working from the same house and barn Hopper chose are together in the exhibition. 

I knew from the start I wanted to depict the house and barn in a different mood than Hopper's interpretation. Where he chose a late afternoon light for his oil, I purposely arrived early in the morning to see the structures in bright morning sun.




Philip Koch, Morning at the Route 6, Eastham
House, vine charcoal, 7 x 14 inches, 2016

Below are four small vine charcoal drawings that I made first to help me sift through the possibilities. I found it was the upper story of the buildings that felt most expressive so I chose to concentrate my attention there. The drawing above is the final result and it is included in the exhibit.






From that charcoal drawing I made this small oil on panel as a first step in discovering the color chords for my final large canvas.


Philip Koch, Morning at the Route 6, Eastham
House, oil on panel, 12 x 24 inches, 2016.

Here I am with the final canvas.



I will be showing more of the paintings in the exhibition in an upcoming blog post in several days. Here's a view of some of the work in the Museum's Haslem Gallery, one of the other two large spaces where the work is installed.