Watch Artist Spotlight: Laureen Landau
on PBS. See more from Rob on the Road.
Friday, April 26, 2013
"The Last Collaborations of Laureen Landau" at Archival Gallery
is something of a contradiction in terms. Because Landau died in
2009, she couldn't participate in a process defined as two or more
people working together.
Rather, this show consists of unfinished works of Landau that
artists who had a connection with her have worked over and made into
their own. It was Landau's working habit to prepare many canvases
and works on paper by laying in background colors and intimations of
imagery. Using these as a jumping-off point, local painters have
created new works under which Landau's initial markings serve as a
The work in the show that feels most like an actual collaboration
is Maria Winkler's "Weaving." In it Winkler has combined one of
Landau's woven paper watercolors with her own image of a bag of
marbles and literally woven the two together. The result is a
complex abstraction that partakes of characteristic qualities of
both artists' works.
The rest of the works in this uneven show range from Tim Collum's
Thiebaud-like beach scene to Corey Okada's memento mori of a partial
skull and a pair of pomegranates on a softly colored ground.
Fred Gordon's "Autumn Evening" brackets a verdant landscape
across which bats fly with images of fish and fishing lures. It's a
compelling work that has a gothic quality.
Lighter in spirit is Maureen Hood's "Laureen's Last Laugh," an
image of a laughing clown against a gridded backdrop that includes a
small Rembrandt self- portrait.
Some artists have completely worked over Landau's starts so that
their works are completely their own. Among them is Gary Dinnen, who
gives us a typically wacky neo-expressionist scene of figures and
animals, and Maija Peeples-Bright, who offers a pair of brightly
colored, glitter-strewn images of charming animals whose bodies form
Jack Ogden offers two of the strongest works in the show, a
fresh, gestural painting of a lake with boats and a brooding
atmospheric scene of a figure looking over his shoulder. Emily
Elders departs from the norm with a small sculpture of a paper house
lit up from inside by LEDs.
Ken Waterstreet is represented by a drawing of childlike figures
against a luminous ground while D.L. Thomas presents a meticulously
drawn portrait of a young Landau.
While the show is interesting, it raises questions about what
should be done with an artist's unfinished work. Should such works
to be preserved as is or destroyed? If it were you, would you feel
comfortable with letting another artist use your work to jump-start
one of their own?
We don't know how Landau would have felt, but she would no doubt
approve of the fact that the gallery's portion of any sales will go
to a Carmichael dog rescue organization, Old Dogs, New Tricks Inc.
That's where Landau got her own beloved pup, Roxy, who died at the
age of 17 last year.
It should be noted that the gallery has also mounted a small
display of finished works by Landau, including some lovely scenes of
local parks, that demonstrate on a small scale what a fine artist
September 25, 2012
Painting by Tim Collom earns prime spot in KVIE Art Auction
D. Oldham Neath, owner of Archival Framing on Folsom Boulevard and a
doyenne of Sacramento's visual arts scene, has pushed Collom to
expand beyond cyberspace (and coffeehouses) since the first time he
brought work in for framing. He freely admits the strong influence
of Kondos and
Wayne Thiebaud, but Neath believes the beauty of Collom's bright
and airy works comes from his own hands.
"What Tim has done, he's taken the things that he loves about
Sacramento and infused them into his artwork without making his
copies a poor man's version of a Gregory Kondos," she said.
Neath is also the art curator for KVIE. The Sacramento PBS station
is in the thick of its annual art auction. Collom entered for the
first time this year, a Napa Valley vineyard landscape titled
"Silverado Trail." His grapevines are thickly slathered in oils,
almost childlike in their oval shapes and steeped in turquoise,
reds, yellows and greens. Wavy purple hills frame the view, settled
under pinkish-gray skies.
Collom won a curator's award for "Silverado Trail," one of five out
of several hundred submissions. Best of all, Kondos was the juror
for the "California Gold" category.
June, 2012 Comstock's Magazine
Preserving the art of Sacramento’s finest
Story by Dixie Reid | Photo by Geary Silva
The hand-carved Italian frame hanging in the back of Archival Framing is
priced at $1,400. It surrounds a $10 plastic clock.
“D” Oldham Neath has been
building custom frames and preserving artwork in her Sacramento
shop for more than 30 years.
“It’s a marketing ploy,” says frame shop and art gallery owner Darling
Oldham Neath (she goes simply by “D”). “And it works every time,”
drawing attention to the beautiful, gilded frame and away from what’s
Neath has been preserving art and building custom frames for the
region’s finest artists and collections for more than 30 years. It’s a
craft she pursued beginning when she was just 19 under the tutelage of
legendary Sacramento gallery owner Michael Himovitz. She fell in love
with the local art scene, and the two helped to found Second Saturday
Art Walk in midtown.
It’s her attentiveness that has kept her customer base growing for more
than three decades. Once she accepts artwork for framing, Neath says, it
goes in a drawer and will not leave the building until the job is
completed. No more than two people will touch it.
“To me, everything we frame is precious. Everything we do is
museum-quality — hence the name Archival. A big portion of framing is
preservation. We have never lost or damaged a piece,” she says. “Any of
those big-box places, by the time it gets back to you, it’s been handled
by six or seven people.”
She framed the 2008 Andy Warhol show for the Crocker Art Museum and the
157-piece Wayne Thiebaud collection at Sacramento State.
On a recent day, art by Thiebaud, Fred Dalkey and Pierre-Auguste Renoir
graced the drawers of Oldham’s shop on East Sacramento’s Folsom
Boulevard. A few days later, those pieces were framed and back in the
hands of their owners. Soon after, a private collector dropped off a
Paul Gauguin painting for framing.
“People in Sacramento have some amazing collections,” Neath says. “We’re
one of the few frame shops where you can bring in 10 things and get them
framed overnight. We do a lot of funeral business, and artists are
always late framing their shows. They’ll sometimes bring in paintings
that are wet.”
In the shop’s gallery space, collectors will find a $14,000 Gregory
Kondos painting, a $15,000 Al Farrow bronze and $10 Sacramento-themed
necklaces Neath makes in her spare time. She represents such artists as
Corey Okada, Eric Dahlin, Maija Peeples-Bright and the late Laureen
Landau. The framing workshop is at the back of the store.
More than a decade ago, developer John Kehriotis hired Neath to frame
all of the artwork and mirrors for his then-new Embassy Suites hotel
along the Sacramento River. He hired her again last year to do the same,
for a six-figure paycheck.
Neath, her husband, who is a licensed building contractor, and their
employee and niece Nicole Oldham spent nine months stretching and
framing 1,093 canvas prints of the four Terry Pappas paintings Kehriotis
had commissioned for the hotel’s renovated dining room. All four images,
on canvas, hang in each guest room. Tom Neath also made crown molding
for the hotel using Archival’s framing machinery.
The Neaths invested $12,000 in tools to complete the Embassy Suites job,
and it could be money well spent. Gary Pageau, publisher of the
trend-tracking Photo Marketing Association International, says canvas
paintings are booming in popularity.
The fad didn’t factor into PMA’s most recent study, which found that 5.3
million U.S. households bought custom frames in 2008, nearly half of
them purchased at craft stores, such as Aaron Brothers.
Neath, who does 80 percent of her business in custom framing and the
rest in art sales, says that her business model is simple: “My theory is
that your framer is like your dentist. As long as he doesn’t jack up his
prices or hurt you, you will never go to another dentist,” she says.
“Framers are the same way. I have not raised my prices in three and a
half years. I approach every single frame job like the individual job it
Archival Framing stocks more than 1,000 molding samples, everything from
pink glitter to leather frames.
“Everybody thinks we’re more expensive than Aaron Brothers for frames,
and we’re not. I have stock black molding that every artist in town
uses. It retails for $11 a foot, and I sell it for $5 a foot because I
order it a thousand feet at a time. When I did Embassy Suites, I ordered
14,000 feet of molding.”
Sacramento artist Ken Waterstreet, whose work was recently featured in
Archival’s “Gone Fishin’” group show, became one of Neath’s first
framing clients more than 30 years ago.
“She really treats artists well,” Waterstreet says. “I wouldn’t have
anyone else do my framing. If you’re an artist, it’s a hell of a lot
cheaper to do the framing yourself, but sometimes you need someone who
handles particular kinds of frames and mattes you can’t find on your
Images Tip the Scales at Crocker, Archival Framing
By Victoria Dalkey
April 26, 2012
Retirees Come of Age
By Anita Creamer
January 8, 2012
David Post was a lawyer. Eric Dahlin taught high
school for more than three decades. Norman Hinman worked as a researcher
in the UC Davis animal nutrition lab – and before that, as a cowhand and
Now, in their
retirement years, they're artists:
good ones whose work commands a price; not hobbyists or dabblers.
For them and other Sacramento region residents,
art is the second act of a creative life. Retiring from their longtime
professional careers has given them time to pursue their earlier and
continuing interest in art.
Story continued at this link
Old Objects, New
By Ed Goldman
Regional artists are
rediscovering the environmental and cost benefits of creating works from
other people’s discarded materials. Our writer, who works in the medium
himself, calls the form “Art-Eco.”
Since I’ve been dabbling in it for years, I’m a tad giddy to report that
what I call Art-Eco is cool once again. This found-objects medium can
include painting, sculpting, collage- and furniture-making, even music
composition. (Some call that last one “sampling”; others call it
In this form, artists recycle or “re-purpose”
discarded materials to create new visual uses for them.
Credit for Art-Eco’s second coming probably belongs equally to two
familiar “e” words: ecology, for the
obvious reason that by using the used, you’re not thinning rain forests
to turn pulp into drawing paper; and economy, because it’s a lot cheaper
for artists to use existing boards, the reverse side of canvases and
even thrown-out paint than it is to purchase them new.
I recently spoke with five local artists
who’ve been experimenting with this form for some time. They were
recommended to me by D. Oldham Neath, owner of Archival Framing
and Gallery in East Sacramento, where I’ve sometimes shown my
work, and Michelle Alexander, executive director of the Arts & Business
Council, whose volunteer board is presided over by someone who looks
just like me.
Continue reading the story by following this link...
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