Showing posts with label Karl Marxhausen paintings. Show all posts
Showing posts with label Karl Marxhausen paintings. Show all posts

Sunday, March 24, 2019

february placements


We Are Treasured In His Hands
Oil Lacquer, 18 x 18
Luther and Carmen Runge, Santa Fe, New Mexico

East End
Acrylic, 2012
Crystal Turner, Cottonwood, Ariznona




Visible Likeness of the Invisible God
Glitter, fabric, paint. 1998
Tom and Lori Runge, Noble, Oklahoma



Fervent
My Sister in Prayer
Acrylic, 2004
Luther and Carmen Runge, Santa Fe, New Mexico


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Tuesday, March 19, 2019

winter placements


Baylee Shadow
Acrylic, 2008
Sherie Clavin, Carrollton, MO





Sweet Heart
Acrylic, 2007
Donna George, Carrollton, MO




Darren At Pool Hall
Acrylic, 18 x 24, 2005
Anna Marie Foster, Carrollton, MO 




Floyd South Levee No.4
Acrylic, 2010
Jamie Lyon, Carrollton, MO






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Tuesday, February 27, 2018

At The Edge of The Wood

Snow is falling at last.
Easel ready. Canvas edged with blue tape. Palette moist. The brushwork starts.


The snow melts.

A week later, a snow shower returns. Delighted I refresh the palette.





Three minutes. My indoor work space for the snow by the wood. Double click to enlarge images.

At The Edge of The Wood
40 x 30 inches
Karl Marxhausen





Saturday, November 18, 2017

yes







One minute. Subject. Site. Painting on easel, bungee cord. Friday noon. 
Double click images to enlarge details.



 Yes by Karl Marxhausen
Acrylic on 70 lb acid free paper
Plein air
November 17, 2017


Friday, August 11, 2017

University of Nebraska Art Alumni reunion

You were in the same sculpture class I took under Thomas Sheffield.  Duane Grosse
Friday night at the closing reception Duane Grosse remembers me. He has a sculpture, a cylinder of carved marble on a large organic section on tree. The bottom of which is gnarly bumps and twists and the table side up orange polished wood. A lamp crowns the marble tower. It looks solid and heavy and I know immediately Grosse approaches his materials with an engineer's mind. 

I remember doing a bronze in Sheffield's sculpture class. The bronze lady bent over with her hands on her knees and her chest hanging down. I shared with Grosse how it took me more than a dozen fitted section of plaster to make that bronze come out so well. Five inches tall by five inches wide - a bald headed female. These years later I have not ground off the unwanted metal. Not knowing what exactly to do with it. It has not seen the light of day - anywhere. Nude subjects are acceptable in college, but not for elementary grade school art.


The names listed on the wall are not familiar to me. Alumni participants my age, the ones who agreed to submit one work for viewing, mill from room to room in the Eisentrager- Howard Gallery wearing name tags, their graduation from the University of Nebraska-Lincoln some thirty-seven years ago. Conversations revolve around the classes we took in 1978 and 1979. Teachers like: Thomas Sheffield, James Eisentrager, Keith Jacobshagen, Michael Nuschawg, and Gail Butt.  

(photo courtesy of Brad Krieger)

Brad Krieger was a teacher aid to Professor Gail Butt. The instructor who had him paint all the still life bottle white. Reflections on glass bottles were a distraction to the students, Krieger recalled. Later Krieger did the same thing in the art classes he taught. It helped students to focus on the forms.


Bradley W. Krieger work (double click to enlarge)


In 2002 when I drizzled glue and paint over oyster shells for a painting I loved the dispersement of pigments. (See next detail.) This is why I REALLY ENJOYED the surface treatment of Brad Krieger's painting, ABOVE. Nuanced. His patience and careful produced an exquisite variety of patterns. The rinsing off of pigment using mineral spirits. Wow.

 More on 2002 painting here 
 And HERE.

Krieger recalled hearing my father speak once on the second floor of Richards Hall in the auditorium. The art professor from Seward spoke on serendipity, he said. Listening to the story just blew me away. Thanks Brad.



Me and the person I am talking to, we have both had Keith Jacobshagen in Illustration and Design classes. Though he painted he never taught a painting class. The oddness of teachers being older people. Can I call them people? Telling us what to do. Never seeming to "have a life." Now as grownups ourselves, look at the amazing artwork these "teachers' have created out there. I told her how I loved observing the passages of color Jacobshagen used in a skyscape at the O Street Kietchel Gallery. 


One gal who had once modeled for art classes - told how the watercolor teacher was kind and gentle to the younger female students in class. But she had seen him bark at older females, telling them how to watercolor by making a scene about it. She was glad that she remained neutral.  She had no troubles in watercolor class.

Matt was a current second year undergrad. He told me about working with resin epoxy. About the dusty free room and the two filter mask he wore to keep the fumes out.

(photo courtesy of Brad Krieger)

One gal had nine small square canvases. I enjoyed the thin white veil over portions of the red. And the mark making she did that tied the sections together. I learned later her name was Cathy Patterson.

Portions writing on notebook paper created ambiance for one work. Tiny hangers with sewn garments in a doll house closet. Two dozen folded notes with bright-colored ribbons on the spine. The details of the crafter exhibit so much care and precision. The name of which I do not recall.


The seven I listened to made remarks about my painting. Calling it "plein air." Noting that it was spatial. How it was done quickly. Michael Villarreal said that the acrylic work had passages that read like oil. Matthew Sontheimer said it was well observed. Soundbites I that appreciate.
Passages read as oil.  Michael Villarreal, MFA grad student at UN-L.
It is well-observed. Matthew Sontheimer, Associate Professor of Art Painting, UN-L.
This encounter was worth driving up for. Though home for me is in Carrollton, Missouri - I have seen that those who submitted artwork - continue to find satisfaction working with materials in 2017. Many live in Lincoln and have their support communities. I am glad to be counted among all of these artists.
 

Alumni from the University of Nebraska–Lincoln’s School of Art, Art History & Design showed their work this summer in the exhibition “Nebraska Alumni Artists 1979-1982” in the Eisentrager-Howard Gallery in Richards Hall.
 



Monday, May 15, 2017

shale wall at bluff creek


Behind Richard Hall with the meter running, a curly headed guy and gal with long hair were trying to load a huge stretched canvas into a much smaller station wagon. An end-of-the-semester dilemma art students can face. Typical. When I passed by next time, the guy had returned with a long cord. Whether he was going to strap the canvas to the outside roof of the vehicle was not clear.


Shale Wall at Bluff Creek 30 by 40 inches, plein air acrylic on canvas. On the back are the notations: "1:00 - 3:00 pm 3:30 - 4:30 pm"


I had driven up to Lincoln in my car to hand deliver my piece. The office had many works still in crates and packed in cardboard. Staff advisor Christy Aggens signed my paperwork. I don't remember who were my classmates when I took ceramics, painting, and printmaking my last year of college. The name Susan Pueltz looked familiar. And I believe Karen Kunc was in the same class I had with Michael Nushawg for printmaking. The Art Department invited art graduates from 1979 to 1982 to take part. The works are currently up in the Eisentrager-Howard Gallery over the summer, June, July. I plan to come up to meet classmates on the final night of the show, Friday, August 4th, three days after my 62nd birthday. The closing reception will be at  5 - 7 pm. 
 
In the meantime, I was going to look around the campus. The flatness had been changed up in a good way. More earth mounds, more leafy canopies, more sculptures.

 







Thursday, May 4, 2017

saying it set it in place

In school I learned about electrons, protons, and neutrons. The pieces that make up an atom. A named attraction pulls these pieces together. The same attraction pulls atoms together on our planet Earth, throughout our Solar System, and out out out over in galaxies on the other side of the Universe. It is a constant. It is a boundary. It has been set in place. The words of the British astrophysicist Paul Davies tell me how important that particular attraction is in the scheme of things. 


In his book Superforce (1982) Davies talked about four constants. He concluded that all that exists is made possible by way of these four constants. His words are like poetry to me. The closest vision I have to the known universe is at my feet. Asphalt, embedded gravel, and the particulate that is revealed by deterioration on a sidewalk or a street.


"Without gravity, not only would there be no galaxies, stars, or planets, but the universe could not have even come into being, for the very notion of the expanding universe, and the big bang as the origin of space time, is rooted in gravity.  Without electromagnetism there would be no atoms, no chemistry or biology and no heat or light from the sun.If there were no strong nuclear force then nuclei could not exist, and so again there would be no atoms or molecules, no chemistry or biology, nor would the sun and stars be able to generate heat and light from nuclear energy. Even the weak force plays a crucial role in shaping the universe. If it did not exist, the nuclear reactions in the sun and stars could not proceed, and supernovae would probably not occur, and the vital life-giving heavy elements would therefore be unable to permeate the universe. Life might be impossible. When we remember that these four very different types of force, each one vital for generating the complex structures that make our universe so active and interesting, all derive from a single, simple superforce, the ingenuity of it all literally boggles the mind."         
(Paul Davies, Superforce, 1982)

In Judeo-Christian literature I have found this same view regarding boundaries. The poet credited a Maker for giving commands to the elements. Water fled at the sound of a Voice. The orbits of the sun and moon were drawn to circle the earth, and in this way help human beings keep track of time.

"You are clothed with majesty and intensity, You cover yourself with light. You spread out the universe like a tent and built your home on the waters above.
You placed the ocean over the earth like a robe, and the water covered the mountains. When you rebuked the waters, they fled; the waters rushed away when they heard your shout of command.The waters flowed over the mountains and into the valleys, to the place you had made for them.You set a boundary they can never pass, to keep them from covering the earth again. 
You created the moon to mark the months,the sun knows the time to set.Your constant love reaches the farthest reaches of space.Your faithfulness touches the atmosphere above. "
zig zig.  Song of David   
Opus 104 lines 1-3, 6-9, 19 and Opus 108  line 4   
1000 BC


An author of Hebrew descent described the constants of the universe as being thrust into compliance by a verbal order. (Hebrews 1:1-3) The words of a personal super-entity regulated every living system, right down to the atoms, and pieces even smaller. I think about that text like poetry, something to take my mind deep into thought. How the smallest of small, the proteins, how they assemble molecular structures as if by following written instructions. That is how biologist Michael Behe talked about molecular machines in the cell.  


Biochemist Michael Denton did not point to an entity or a maker, but his text convinced me that a simple protein molecule was capable of carrying multiple tasks, in ways much like the technologies human beings have coded, multiplied several times over. My eyes glaze over from the wonder of Denton's descriptions. I think about a voice giving instruction to proteins and the thrust to comply. Denton's writing gave credit to an entity none could match, one without a name, one with no foot print, but one which dumbfounded me, amazed me, wowed me, blew me away.
“We would see that nearly every feature of our own advanced machines had its analogue in the cell: artificial languages and their decoding systems, memory banks for information storage and retrieval, elegant control systems regulating the automated assembly of parts and components, error fail-safe and proof-reading devices utilized for quality control, assembly processes involving the principle of prefabrication and modular construction. In fact, so deep would be the feeling of deja-vu, so persuasive the analogy, that much of the terminology we would use to describe this fascinating molecular reality would be borrowed from the world of late twentieth-century technology” (Evolution: A Theory in Crisis, 1986, pp. 328, 329
 

 Out of nothing. The idea that all that is substance, and the incredibly small or beyond our ability to detect it with our instruments, all of that -- it came out of nothing. Once it did not exist. Then Time and Space and dimensions and worlds and entropy and dark matter BECAME.

A way of thinking, faith, can be had and held. Hope comes out of it. The certainty of things we cannot see. That people in ancient times were able to know God's approval. This way helps us to understand that the universe was thrust into compliance by the command of God, so that what can be detected by human beings and their instruments was made out of the absence of all things.  (Hebrews 11:1-3)              
"Contemplating the Rhythms and Boundaries That Your Voice Sets for Sub-Atomic Particles, While I Stand on the Sidewalk and Look Down at the Asphalt on My Way to School" by Karl Marxhausen
 





(courtesy of http://karl-marxhausen.blogspot.com/2008/11/karl-marxhausen-being-led-elsewhere.html, accessed April 28, 2017) 

HERE CORE

 

Wednesday, May 3, 2017

spring placements


Light Among Trees
Acrylic on panel, 2009
Janis and John Mc Kenzie, Clay County, Nebraska



You Paint Joy On Top Of Me
part of core series
Acrylic, sand, and charcoal ash on board, 40 x 40, 2002
John E. Brenneman, Kansas City, Missouri




Terra Wild
Acrylic on panel, 2004
Robert Cranmer, Carrollton, Missouri




Wall screen
Mixed media on burlap, 2014
Linda Birkes-Lance, Seward, Nebraska




Mother and Daughter in Samarkand
Acrylic on canvas, 2005
Frank Raasch, Norborne, Missouri




Ribbons   (details, above)
Acrylic on board, 7 x 31 inches, 2003
Susan Nashan, Carrollton, Missouri



Wired To Hear Your Voice 
part of core series
Acrylic paint, oyster shells on panel, 2002
Daniel Griffith, De Witt, MO




Monday Standing
Acrylic, 26 x 40, plein air, 2007
Janis and John Mc Kenzie




Open
Acrylic on board, 2004
Linda Birkes-Lance




Bluff Creek April 2016
Acrylic on panel
Lori Buntin, Kansas City, Missouri





Dancing With Jesus
part of core series
Acrylic on canvas, 2001
Trisha Nyberg, Olatha, Kansas




 Sky Blue
Acrylic on panel, 38 x 28 inches, 2007
Janis and John Mc Kenzie




Afternoon On The Missouri River, Carroll County
Acrylic on panel
Linda Birkes-Lance




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