Open Studio For A Closed Mind

Open Studios. Always quite the scene and a big deal for artists. As a photo lab we assist in preparation of said artwork. Sometimes we do the work for the artist, but more often than not we just produce or reproduce their vision as directed. I’ll be honest: I don’t really care for too much of the photography or other artwork I see ’round these parts. I’m no critic, I just like what i like, and it could be that I’m a jaded asshole jerk with no appreciation for art. Or maybe there is just too much “art” to digest

Anyway, when I do see work that I like I get excited, sort of.  So, I’d suggest you check out the open studio of Lisa Bostwick. Paintings with a photographic feel.  I’m not qualified to comment further so I’ll let the work speak for itself. Can I add that they are printed at Photoworks on somerset velvet paper, ok I got that in.  These are really some inspiring, unpretentious works.  Save one for me Lisa.

Lisa Bostwick’s OPEN STUDIO- Weekend 3
October 18 & 19 11am- 6pm
1049 Treat Ave, San Francisco 94110 (between 23rd and 24th)
Margaritas, New Work, Old Work, Prints form Original Paintings

Website is www.bostwickpaints.com
subjects range from vintage fishing, surfing, Americana, Mid-Century architecture, American Indians

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2 thoughts on “Open Studio For A Closed Mind

  1. Tom S says:

    Yeah, Lisa’s work has always been amazing! I love the vintage Americana subject matter (also check out the boxing, motorcycle and pulp fiction series). I agree her work does have a photographic quality to it, maybe in the composition. But it’s how she handles paint and color on canvas that I love. She is not reproductive in a photorealistic way, but really painterly with wonderful blended colors and bold brushwork. Her website is great, but you have to look at her canvases in person to really appreciate them. Cool website. Thanks.

  2. Vicki Van Fleet says:

    The pictured work is extraordinarily evocative of a time and a place…the colors themselves seem the colors of nostalgia for that time and place. It is actually a wonderful example of the direction of Lisa’s work in the past few years towards exciting emotional and intellectual involvement of the viewer.

    You have to ask yourself about the impact that car and those two men’s posture is having on you. Mostly it seems to me because you are offered the opportunity to separate out the beauty of the colors and the lines in an alternate non-representational form on the same canvas directly above. Are line and color the only source of beauty or do you need that particular representational connection to achieve what you actually feel when you look at it? This intelligent painting challenges, and so invites the eye over and over again, as good art should.

    I can’t wait to see the latest excitements at Lisa’s open studio.

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