MEMORY - Christopher Art Gallery of Prairie State College

Frances Cox, Memory of Watching Plants, 32x32 in, oil on canvas

A juried exhibition titled Memory, opened this week at the Christopher Art Gallery of Prairie State College. The exhibition, curated by Gallery Director Beth Shadur, includes a variety of work addressing the ideas of past experience and nostalgia. 

The school’s gallery guide points out, “Our ability as humans to make and remember memories is what makes experiences rich and defining in our lives. Actually, all living beings have memory, and this is evident by the mysterious ways in which birds migrate successfully, our pets learn our requests for obedience, and how activities for living beings become habitual. But for artists, the ability to process and then elicit memory is particularly profound.”

Frances Cox was raised in a Chicago neighborhood where her parents owned the local bakery. Some of her earliest memories were of drawings produced on an unlimited supply of brown wrapping paper acquired from the family business. She remembers family drives from the city, exploring the countryside and nature. As her work as an artist evolved, Cox redefined landscapes and nature-inspired still-lives.

The work of Frances Cox defines beautiful abundance. Cox orchestrates the repetition of form, pattern, and texture creating lavish compositions with her unique visual vocabulary and a seductive use of jeweled color tones. Each canvas persuades the viewer to renounce reality and immerse themselves into a new organic world. The distinctive contrasting color patterns create a lavishly orchestrated composition suggestive of an abstract cornucopia. 

Other artist included in the exhibition include Joan Ackerman-Zimny, Marcia Babler, Wayne Bertola, Pate Conaway, Helen Dannelly, Jeanne Garrett, Leslie Hirshfield, Pauline Kochanski, Alejandro Lugo, Mary Lynn Maloney, Janice Meister, Betty Ann Mocek, Karen Musgrave, Carol Neiger, Julie Rivera, Jihye Shin, Aaron Sims, and Colette Wright Adams.

The Memory exhibition continues through January 25 at the Christopher Art Gallery. A reception for the artists is scheduled for Wednesday, January 17, 11 am- 1:30 pm. The gallery is found on the main campus of Prairie State College, located at 202 South Halsted Street, Chicago Heights, Illinois 60411. Learn more at https://prairiestate.edu/christopher-art-gallery/

Hofheimer Gallery - The Salon Show

Frances Cox, Brown Tree, oil on canvas, 48″x30″

On Friday, June 12, Hofheimer Gallery opened an exhibition titled, “The Salon Show” featuring a collection of work by gallery artists. Playful, obsessive, and thought provoking, the work included in this exhibition presents an array of elegance with a bit of quirky—highlighting each artist’s unique voice.

 

“Brown Tree” by Frances Cox is composed of painterly strokes of pigment that convey the fluttering of reverberating motion. This fluid abstraction of muted tones manipulates the space in the manner of the Cubists. The use of Implied shadow alludes to the third dimension while the translucent application of paint, infers the sound of rustling sun-soaked leaves. This technique exposes the artist’s journey—revealing areas of underpainting that chronicle the form’s evolution. 

Teresa James offers a new spin on the concept of the glass ceiling, with “My Spirit and I Are One”. James creates the surrealistic image on the inside of a book cover, using mixed media; drawing, watercolor, and collage. The image presents a number of winged hands—a reoccurring symbol in James work—in battle with a pair angry birds, blocked from their given right to soar above the clouds. The unresolved conflict results in the loss of feathers, yet the determination of the birds seems unending. 

Teresa James, My Spirit and I Are One, drawing collage with watercolor on inside book cover, 7 3/4” x 10”

George Klauba uses the style of tattoo art to create intimate canvases that address curious topics. His obsessively painted “They Shall Take Up Serpents” references Mark 16:17-18 and comments on that gospel’s misinterpretation for use as spectacle in religious theatre. As the story goes, in 1910—after preaching this gospel—an illiterate Tennessee preacher pulled a large rattlesnake out of a box with his bare hands. He handled it for a few minutes and then demanded members of the congregation do the same—or burn in Hell. This snake-handling practice became commonplace in the Church of God throughout Appalachia. 

George Klauba, They Shall Take Up Serpents, acrylic on panel, 18″x14″

Referencing this unusual life-threatening custom of the Pentecostals, Klauba defines the narrative through the symbols of tattoo culture. Along with the serpent—representing wisdom, rebirth, and temptation, we find the tortured Christ figure, a dagger—symbolic of betrayal or sacrifice, and a skull—referencing death or mortality. Beautifully painted, Klauba uses a variety of flat color areas, patterns and implied textures, which entice the viewer to continue exploring the charmingly quirky content of his compositions… each one with a unique theme.

All of the work in The Salon Show exhibition can be reviewed online and on site, by appointment. Hofheimer Gallery is planning to reopen to the general public after the Fourth-of-July holiday. Face masks will be required, and social distancing will be practiced.

Hofheimer Gallery is located at 4823 N. Damen, Chicago, IL 60625 | 847.274.7550
View the exhibition at: hofheimergallery.com.

The Salon Show includes work by: Betty Cleeland, Colleen Cox, Frances Cox, Charles Gniech, Teresa James, Mary Jones, George Klauba, Catherine Maize, Michael Noland, Karen Perl, Mary Porterfield, Jeanine Coupe Ryding, Eleanor Spiess-Ferris, Fred Stonehouse, and Chuck Walker. The exhibition continues through July 31st.

Frances Cox – Hofheimer Gallery

Frances Cox, Summer, oil on canvas, 36 x 38"

A World Apart—the exhibition of vibrantly colorful oil paintings by Frances Cox and Michael Noland—will open with a reception at the Hofheimer Gallery on Friday, April 5th from 5-8 pm. 

I’ve followed the career of Frances Cox for the past decade. I was first introduced to her beautifully-organic imagery, while curating exhibitions for a small upscale gallery in Three Oaks, Michigan. At that time, she was working on a series of paintings related to a recent tsunami disaster. The imagery was powerfully haunting yet beautiful—composed of teal, blue and green organic shapes adorned with elaborate patterns. These luminous elements alluded to the tragedy that occurred in a paradisiacal environment normally bursting with an abundance of brilliant color.

Over the years, I’ve work with Cox on a variety of exhibitions. Generally, her work is botanically-inspired figurative still life, with clear references to Art Nouveau—highlighting organic design motifs including vine tendrils, flowers, and the human form. Cox’s canvases are gracefully composed, offering the viewer layer-upon-layer of detailed nuance. But the beautiful forms that emerge from the complexity are never subtle. They are bold, direct, and demanding of the viewer’s attention.

Cox explains, “When I look at plant forms, I view them as botanical singularities having the characteristics of other living things. I transfer to plants, metaphors for human feelings and appearances.”

As I previewed the exhibition, I found myself drawn to the beautiful complexity of the canvas titled Summer. This 36 x 38-inch composition plays with a variety of contrasts; the use of a complementary color pallette, large open areas juxtaposed with highly detailed modeled patterns, and a popping of light and dark.

In much of her work, Cox utilizes dark outlines to build form and distinguish shape. This technique presents a visual trail leading the captivated viewer through the composition, introducing quiet details. From a distance, yet another surprise emerges. Each canvas melds into the sum of its parts, becoming a completely new and unique abstraction.

Frances Cox, Dancing Tree, oil on canvas, 40"x40"

Dancing Tree is another gem in this collection. The 40-inch square canvas seems to be channeling the essence of Winged Victory with its flowing Grecian gown and wings raised in triumph. But the fluidity isn’t lost on me. References to Art Nouveau and the work of Will Bradley come to mind. Bradley’s poster for The Chap Book, 1895 offers similar forms. In both samples, billowing shapes seamlessly flow into one another—defining edges where none exist, repeating shape for complexity, and challenging the viewer’s perception.

A World Apart, featuring the work by Frances Cox and Michael Noland, opens Friday, April 5, with a reception from 5-8pm. The artists will be in attendance. The Hofheimer Gallery is located at 4823 N. Damen in Chicago [60625]. Gallery Hours are Wednesday through Saturday from 11-5 and by appointment. For additional information contact the gallery at 847.274.7550 or visit hofheimergallery.com …A World Apart continues through April 25, 2019.

Frances A. Cox was raised in Chicago, Illinois, graduated from Marquette University and attended the Art Institute of Chicago. Her work has been exhibited nationally, earning Cox well-deserved recognition and numerous awards.
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Frances A. Cox ~ Still Life Portraits

Frances A. Cox, Conversation, oil on canvas, 24" x 28"

Save the Date: Friday, December 13th 5-7pm

Last week, I received an email from Frances Cox inviting me to her Rogers Park studio. The invitation was an offer to preview a series of paintings that she created for an upcoming exhibition. I accepted.

The solo exhibition—titled “Still Life Portraits”—will be presented at the Renaissance Court Gallery of the Chicago Cultural Center from December 13th through January 26th, 2014. The Opening Reception is scheduled for Friday, December 13th from 5-7pm. You should plan to attend. This is a “must see” exhibition.

Cox—a prolific painter—utilizes plant forms as metaphor for human emotions. She openly points out…

“When I look at plant forms, I view them as botanical singularities having the characteristics of other living things.”

Her ornate images guide the viewer on a journey through the picture plane—exploring gestural botanical forms and structures alluding to humanity. The images are sometimes a singular “figure” while others define relationships.

The most current images are brilliant. Cox has pushed her color palette to explore stronger contrasts—making the images pop off the surface of the canvas. The glistening oil shimmers with fluid emotion created through a combination of silhouette and beautifully modeled forms. The mixture of modulation lends to the complexity of the elaborate compositions.

Frances A. Cox, Two Eccentric Vases II, oil on canvas, 28" x 34"

Join me at the opening reception of Still Life Portraits on Friday, December 13th from 5-7pm. The Renaissance Court Gallery is on the first floor of the Chicago Cultural Center, located at 78 East Washington Street in Chicago.

Gallery Hours: Monday through Thursday; 9am–7pm, Friday; 9am–6pm, Saturday; 9am–6pm, and Sunday; 10am–6pm

Frances A. Cox, White Vase with Hanging Pear, oil on canvas, 28" x 30"

Frances A. Cox was raised in Chicago, IL, graduated from Marquette University and attended the Art Institute of Chicago. Her work has been exhibited in many state group shows as well as regional juried exhibitions across the Midwest and has earned numerous awards from Midwest Museums of Art.

​Solo Exhibitions of her work have been held at the Freeport Museum of Art in Freeport, Illinois as well as the South Bend Museum of Art in South Bend, Indiana.
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The Art of Human Rights: Friday, February 25th

Join me on Friday, February 25th for "The Art of Human Rights" [formerly Art Against AIDS], hosted by the Junior Board of Heartland Alliance. This charitable event features live and silent fine art auctions with a variety of work created by local and national artists. Donating artists include: Frances Cox, Ted Preuss, Maggie Meiners, Audry Cramblit, Paula Kloczkowshi Luberda, Sheila Ganch, and Carol Luc. This is just a partial list of the generous and wonderfully talented participating artists. Follow this link to review the available work.

This after-work cocktail party and fine art auction will benefit Heartland Alliance in providing housing, healthcare, economic security, and legal protections services to more than 200,000 people whose lives are threatened by poverty and danger, including those living with HIV/AIDS.

This year's event will take place at Gruen Galleries located at 226 West Superior Street in Chicago. The festivities begin at 6:30pm. Tickets can be purchased online at www.artofhumanrights.com starting at $125.
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Rebecca Moy: Visceral Reaction

"Against The Grain", Acrylic on Canvas, 44" x 60"

Gallery 180 of The Illinois Institute of Art-Chicago will be presenting the paintings of Rebecca Moy from November 15 through January 17th with an opening reception on Friday, November 19th from 5:30-7:30... so save the date!

Manipulating the spatial relationship of shape and color, Moy creates an intriguing world with hard-edged abstraction. The works explore the reactions that she—and the viewer—has to variations of color and form relationships. Moy explains:

“I’ve always been fascinated with the reaction of the body and mind to the visceral relationship between color and shapes. …This series of paintings becomes the physical embodiment of this investigation, as it takes place within me. I’m intrigued by the thoughts and feelings evoked by precise orchestrations of color and shape. Layer by layer, these forms create a place to remember, or perhaps a place to forget… to wonder and wander through the times and places we’ve all journeyed; perhaps these are the moments and memories which define us.”

Moy works in an abundant sanctuary—her studio—were massive canvases surround a central workspace. Here, she obsessively applies layer after layer of acrylic, inventing—and reinventing—new meditative imagery, which addresses psychological reaction to line, shape and color. Some of the compositions are presented in quiet color palettes while others seem charged with electric vibrancy... each conveying an individual mood or personality. The paintings seem to explore the color theories of Stanton MacDonald-Wright [1890-1973], which defined specific psychological interpretations of color. Moy takes these color theories a step further by incorporating shape and line into her imagery. These images provide an intriguing sensory experience.

The work of Rebecca Moy will be presented at Gallery 180 of The Illinois Institute of Art-Chicago through January 17. An Opening Reception will take place on Friday, November 19, 5:30-7:30 pm. Gallery 180 is free and open to the public. All works will be available for purchase. Gallery 180 is located at 180 N. Wabash—at the corner of Lake and Wabash—in Chicago’s Loop. The gallery is open Monday through Thursday from 8am-8pm; Friday, 8am-5:30pm and Saturday 9am-5pm. Additional information can be found at gallery180.com.

Also, take a moment to drop by Gallery 180 to visit the amazing paintings of Frances Cox through November 11th.

Frances A. Cox: The Human Side of Botanics

Gallery 180 of The Illinois Institute of Art-Chicago will present the work of Frances A. Cox from September 14 - November 11 with a reception scheduled for Friday, September 17th from 5:30-7:30.

I spent some time with Cox in her studio a few weeks ago—selecting the pieces to be exhibited for this show. The pieces are a collection of oil paintings which introduce the viewer to an abstract-surreal reality where inconspicuous portraiture is composed of plant and still life forms. Cox utilizes these forms to create her own secretly significant visual language. This personal language—comprised of a variety of recognizable components and a vivid color palette—becomes the focus of each canvas as the subtle reference to the human form recedes.

Cox explains, “When I look at plant forms, I view them as botanical singularities having the characteristics of other living things. I transfer to plants, metaphors for human feelings and appearances.”

The work of Frances A. Cox will be presented at Gallery 180 of The Illinois Institute of Art-Chicago through November 11th. An Opening Reception will take place on Friday, September 17, 5:30-7:30 pm. This exhibition is free and open to the public. All works are available for purchase. Gallery 180 is located at 180 N. Wabash—at the corner of Lake and Wabash—in Chicago’s Loop.

The gallery is open Monday through Thursday from 8am-8pm; Friday, 8am-5:30pm and Saturday 9am-5pm.

Frances Cox - A Studio Visit

I receive dozens of packets containing exhibition proposals each year. They sit in a box next to my desk, waiting for a day that I find some time to explore their contents. I've begun opening only a few in a sitting, which allows me to fully focus on the work and to consider the appropriateness of the content for the upcoming exhibition season at Gallery 180.

Well, Frances Cox sent me a proposal—back in March—which highlighted some of her new work. Being familiar with her imagery—I have a piece in my personal collection and have acquired another for the school's collection—I was intrigued to review the current paintings. After a review of the enclosed CD, I sent off an email expressing my interest and scheduled a future studio visit.

Well that meeting happened this morning... and it was refreshing. As I entered Cox’s new studio at the Greenleaf Art Center, I looked around the room and saw that there were some new things happening. Cox seems to be exploring some new color palettes as well as variations on her two-dimensional compositional format. She has begun creating some flat color areas, which offer the viewer a place to rest before moving on to explore the next area of pattern. And on some of her larger canvases, she seems to be playing with space to produce a three-dimensional, environmental quality. The work is evolving and it’s wonderful. Keep an eye out for an upcoming solo exhibition at Gallery 180 in 2011 or 2012.

Selections have been made...

Frances Cox, Black Apricot Tree, Oil, 34 x 40"

This past April, Gallery 180 of The Illinois Institute of Art-Chicago opened an exhibition titled "From Nature" to benefit the Ragdale Foundation. The exhibition was produced to help call national attention to the Ragdale Foundation and to raise money to support the Ragdale residency program. I've written about the program in past posts but basically the program allows artists—from all over the world—to attend Ragdale and create in a beautiful, serene, and uninterrupted environment.

The Illinois Institute of Art-Chicago is committed to supporting the arts as well as to supporting Ragdale by purchasing at least one of the exhibited pieces for inclusion into the school's permanent collection. Actually... the school has chosen to purchase three. The pieces selected for inclusion into the school's permanent collection are: "Black Apricot Tree" an oil on canvas painting by Frances Cox [Wilmette, IL], "Blue Leaf on Stream" an oil painting on canvas by Diane Kunzler [Glidden, IA], and RK Williams' [Denver, CO] Platinum-Palladium Print titled "Fog and Light". Commissions from the sale of these pieces—as well as all other sales in this exhibition—will be donated to The Ragdale Foundation residency program.

Many of the works are still available. If you are in—or passing through—downtown Chicago, please drop by to see the exhibition. Gallery 180 of The Illinois Institute of Art-Chicago is located at 180 N. Wabash, at the corner of Lake and Wabash in Chicago's Loop. You can also review the work on line at gallery180.com


Above: Diane Kunzler, Blue Leaf on Stream, Oil on Canvas, 24 x 24"


Above: RK Williams, Fog and Light, Platinum-Palladium Print, 4 x 5"

Frances Cox - Brilliantly Wonderful

There were many amazing Works of Art available at the Art Against AIDS benefit this past Thursday evening. "Still Life with Pears" by Frances Cox, was among them. Cox is an Artist, who's talents—I believe—are underexposed. Her brilliant abstract still life paintings are created with Matisse-like forms, seemingly inspired by the Master's early turn-of-the-century works... "Joy of Life" [1905] comes to mind. The fluid shapes cover the surface with richly modulated, patterns of color. Her content goes beyond the standards of sill life painting. The content becomes the form and color. The composition becomes a feast for the eyes.

My partner and I purchased "Still Life with Pears" [shown above] at the benefit auction. I placed it into a traditional frame, although I considered a solid black contemporary version. Either would have worked. We hung it in our dining room and spent the night enjoying its brilliance.

I have worked with Frances Cox in the past. I first saw her work while curating exhibitions for a little gallery in Michigan. At that time, the Artist was working on a series of paintings dealing with the tsunami disaster. The paintings were composed of beautiful modulating patterns of teal, blue and green. I look forward to seeing what she creates next.

Additional work by Frances Cox can be found at Edgewood Orchard Galleries in Door County.