Neath has a long history in the Sacramento art community. She was previously the Gallery Manager at Solomon Dubnick Gallery for seven years and a three-term president of the Center for Contemporary Art, a founder of the Chalk it Up! Festival and also a founder of the American River Salmon Festival.
Archival Gallery was founded in 1983, while Neath was working as the assistant to Michael Himovitz of the Michael Himovitz Gallery.
Sacramento Bee Photo by Brian Baer
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September 25, 2012
Painting by Tim Collom earns prime spot in KVIE Art Auction
D. Oldham Neath, owner of Archival Gallery 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.
Preserving the art of Sacramento’s finest
Story by Dixie Reid | Photo by Geary Silva
“D” Oldham Neath has been building custom frames and preserving artwork in her Sacramento shop for more than 30 years.
Fish Images Tip the Scales at Crocker, Archival Gallery
By Victoria Dalkey
April 26, 2012
Two shows that explore the art of angling prompt thoughts about the relationship between fishing and making art.
Both are meditative acts in which one casts one's line and hopes for a bite. Though not as soothing as the waters of a pond, the blank canvas is as mysterious and full of promise. There's nothing like snagging that denizen of the deep or coming up with an image for a painting.
"Fishing Lines: Etching and Engraving From the Gary Widman Collection" at the Crocker Art Museum and "Gone Fishin' " at Archival Gallery give us a look at the fascination artists have had and still have for the art of angling. The Crocker show gives us a look at 60 prints by artists from the 16th century to the present. Archival Gallery offers works in a variety of media primarily by local artists of our own time.
Widman, a Bay Area resident who is both an avid fisherman and a fancier of fine prints, has a large collection from which this exhibition has been drawn. Crocker curator William Breazeale has selected an array of exceptionally fine prints that range from Rembrandt's scene of anglers on a riverbank to Peter Milton's surreal interior of an aquarium where the French writer Colette sits at a table while gondoliers drift by and revelers dance.
The show offers a wide range of subjects from mythological, allegorical and religious images from the 16th and 17th centuries to the recordings of naturalists in the 18th and 19th centuries and innovative methods and sly humor used by artists of our own time. But it also serves as a glossary on the evolving techniques of printmaking from the laborious work of producing images with a sharp burin gouged into copper to the more subtle effects achieved in etching, which involves biting the copper plate with acid.
One of the most impressive examples of engraving is Pieter van der Heyden's "The Big Fish Eat the Little Fish," made after a design by Pieter Bruegel and illustrating a Dutch proverb about social Darwinism. In it, a man slices open a huge beached fish so that the contents of its stomach spill out. Symbolizing the domination of the rich over the poor, the bigger fish eat smaller ones as a man in a boat points out the injustice of the scene.
Because the image includes some surreal elements – a fish with legs and a flying fish with a corkscrew tail, the print was at one time attributed to Hieronymus Bosch, a market for whose prints, said Breazeale, was stronger than Bruegel's in the 16th century.
Rembrandt is considered one of the finest etchers in art history, and his delicately gradated scene of a fisherman and his son on a riverbank with two swans in the water is a masterpiece of the medium. A similar subject is taken up by Adriaen van Ostade in his etching of a tired angler and his patient son fishing from a bridge.
In the 18th century, Mark Catesby accompanied an expedition into North America, recording the fishy inhabitants of the New World in impressive etchings that he colored by hand. The "Great Hogfish" is a bold and colorful rendition of a fearsome fish.
Moving into the 20th century, Armin Hansen gives us a moodily rendered etching of a sardine barge on the waters near Monterey, and John Winkler offers a fascinating image of a North Beach boat returning to a wharf in San Francisco with the Golden Gate Bridge in the distance.
One of the most recent prints in the show is a three-plate composition from 1992 by Ladislav Hanka in which he has poured acid onto the plates, creating random patterns to which he added imagery of fish and crayfish, combining the intentional with the accidental.
The show at Archival ranges from Fred Gordon's scaly sculptures of parrot fish, rainbow trout and other watery creatures to Ken Waterstreet's quixotic collage of one of Johannes Vermeer's women weighing a fish instead of a pearl. This is a thoroughly charming show with images by artists both well-known and less familiar.
Don Thomas strikes a strong note with his boldly drawn and richly colored image of a disembodied fisherman in a stream with his pole and net. Arthur Sordillo gives us a Wiley- esque diptych of a fish impaled on a chair. Richard Feese is represented by two of his idiosyncratic fish sculptures made of found objects.
Christopher Dewees presents an elegant image of a Chinook salmon, caught in Alaska, which was made by a Japanese method called gyotaku in which an actual fish is colored and imprinted on a surface.
John Landgraf makes a political comment about members of the House of Representatives weakening the standards of the Environmental Protection Agency. Neil C. Hansen offers a pair of sensitive paintings of fishermen in boats that have the soft color and atmosphere of works by Milton Avery.
Artistic 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 ranch manager.
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.
Old Objects, New Art
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 “stealing.”)
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 Gallery 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.
"Ignored Omens," an exhibit of select works of the late Sacramento artist Laureen Landau, will open with a Second Saturday reception at Archival Gallery on June 11.
Landau, who left a large part of her sizable estate to her two dogs, was the subject of a posthumous Bee profile in April 2010. A longtime Sacramento City College art instructor, she died in August 2009 at age 69. The works on display in the exhibit were created between 1997 and 2005.
Archival Gallery is located at 3223 Folsom Blvd. in Sacramento. For more information, call (916) 923-6204.