geezersgallery.com

January 20, 2012

Shoot in Nebraska

Filed under: war stories of advertising — Admin @ 5:06 pm

Well, there was this time in the late 1960’s, when I was in Omaha, Nebraska doing a T.V. commercial for that renowned product Bux Corn­rootworm Insec­ticide. This was part of the array of bene­ficial farm products that were being produced by Chevron Ortho products (and we wonder why the Autism rate increase so dramatically).

I was there with Larry Duke (a genius art director and later Levis Poster, etc. Illus­trator). Our chosen actor for our commercial was Pat Buttrum (Gene Autry’s former movie side kick). Mr. Buttrum was currently appearing in a T.V. series called Green Acres (starring Ava Gabor, etc.). It was about city folk who buy a farm. Their neighbor was Pat Buttrum. So we figured he was perfect to sell Bux to the farming community.

We went to dinner the night before the “shoot” and across the restaurant Mr. Buttrum spies an old friend, singer “?” Robert Goulet — who was appearing at that great Omaha venue, The Aksarben Theater (that’s Nebraska spelled back­wards, get it?). So the two of them wander off to partake of way too many drinks.

Cut to the next day, when we stop to ask some farmer on a dirt road for direc­tions to one particular corn field in an area of corn­fields as far as you can see in any direction. As the farmer is pointing, Pat Buttrum opened the back door of the car and puked on that poor farmer’s shoes. We could only imagine how proud the farmer must have felt when he went home tracking vomit into the house and proudly announcing that Pat Buttrum from Green Acres puked on his shoes not more than10 minutes ago.

I won’t go into the video cameraman’s concern with color adjustment saying, “there must be some­thing wrong with this equipment.…I can’t get that green cast out of Mr. Buttrum’s face”. It was that green of someone who’d been up drinking all night. And I won’t elab­orate further by discussing how many chickens Mr. Buttrum sat on when making himself comfortable sitting on those bags of Bux Corn­rootworm Insecticide).

Todd Miller

December 2, 2011

Artist’s Shoes

Filed under: Now Showing — Admin @ 2:55 pm

This artistic tribute for Frances, “Walk in an Artist’s Shoes”

…will be showing from December 2nd to December 31st in Gallery 11 at the ICB, 480 Gate Five Road, Sausalito, CA

‘Artist’s Shoes’ exhibit honors Sausalito’s Frances Galli

By Vicki Larson
Marin Inde­pendent Journal (link to IJ article) 12/​1/​2011

Frances Galli in her studio at Sausalito’s ICB Art Center.  Galli, who passed away in September at age 92, is being honored by her fellow ICB artists with an exhibit,‘Walk in an Artist s Shoes.’

The artists who worked with and were inspired by the late Frances Galli would say no one could fill her shoes.

But for one month, everyone’s invited to “walk” in them.

Walk in an Artist’s Shoes,” an exhibit to honor the artist who had a studio at Sausalito’s ICB Art Center for nearly 25 years, features dozens of fanciful shoes-​​cum-​​artworks. The former Kent­field resident passed away in September at age 92.

Her life was about art. She was an artist through and through,” says Suzie Buchholz, an abstract painter who shared a studio with Galli for about three years and was her studio neighbor for many more. “She was always pushing the envelope and doing some­thing new
Frances Galli’ ‘Shoes #3,’ oil on canvas and painted in 2006, will be on display in ‘Walk in an Artist’s Shoes.‘
and learning. She had a sense of style and a vibrancy.”

Adds fellow ICB artist Kristen Garneau, “Her work ethic was really sort of amazing. Right up until a week before she passed away, she would be in her studio every day at 10 o’clock on the dot.”

There are some 48 shoes in the exhibit and sale, all crafted by Marin artists, that can be seen at ICB’s annual Winter Open House on Dec. 3 and 4, and throughout December. Deco­rated with fiber art, collage, stained glass, paint, Swarovski crystals, hardware, feathers, photographs and rhine­stones, no two pairs of shoes are alike.

You never know what you’re going to get when you give instruc­tions to artists,” Buchholz says, laughing.

All are for sale (prices range from $50 to $600), with some artists donating the proceeds to their favorite charity.

All these shoes look like the people,” says Garneau, the exhibit’s curator. “I don’t think anything in our space has looked like this.”

Garneau got the idea for the exhibit when she visited Galli in the hospital shortly before she died.

I was holding her hand and I was struck with how many things this hand had done,” the Mill Valley resident says. “I was so grateful that my life’s path had brought me to her and I thought of … her shoe paintings, and of all of our shoes that led us to this place.”

Shoes are an appro­priate tribute. Galli loved fashion and created a series of paintings of shoes, many inspired by a collection of embroi­dered silk Chinese shoes she had in her studio, including 2006’s “Shoes #3,” which is included in the exhibit.

Shoes were about Frances trying a different direction, moving away from the wide-​​angle land­scapes and the naïve prim­itive figures and going more to detail,” Buchholz says. “For her, it was about creating some­thing that was pleasing, that brought a smile to your face,”

Buchholz has done the same for her shoe artwork. She’s been incor­po­rating kites in her mixed-​​media instal­la­tions for years, so it’s no surprise her contri­bution features five miniature kites hovering above a pair of bright red shoes.

Kites represent oppor­tunity, hope and, I guess, possi­bility, more than anything,” the San Rafael resident says. “There’s some­thing really happy about a kite.”

Garneau’s artwork is a pair of painted cowboy boots. “I’m a land­scape painter so for me to go to 3-​​D was really out of the box. But it was fun.”

So, what’s it like to walk around in an artist’s shoes? “Artists are attuned to different things as they move through life. My husband and I hike a lot, and usually he’s focused on speed and distance and I’m kind of looking at the way a shaft of light comes between two branches on a tree,” Buchholz says.

For Garneau, it’s more a matter of expression. Art “requires an audience. So whether it’s dance or music or writing, all require some­thing at the other end to be able to see it. Each of us has our own indi­vidual voice and our own passion,” she says. “In Frances Galli’s case, her paintings were really of very simple things taken to a level of a certain kind of beauty because that’s how she walked in the world.“

Vicki Larson can be reached at vlarson@​marinij.​com; follow her on Twitter at @OMGchronicles, fan her at on Facebook at Vicki-​​Larson-​​OMG-​​Chronicles.

if you go

What: ICB Winter Open Studios
When: 11 a.m. to 6 p.m. Dec. 3 and 4; reception 6 to 9 p.m. Dec. 2
Where: Indus­trial Center Building, 480 Gate Five Road, Sausalito
Admission: Free
Infor­mation: 331‑2222; www​.icbartists​.com
More: “Walk in an Artist’s Shoes” will be on exhibit at the ICB Gallery 11 through Dec. 31

November 23, 2011

Marget Larsen on Ebay

Filed under: Uncategorized — Admin @ 4:25 am

6 sets of 6 Lunch­boxes Designed by Marget Larsen at an auction in Kansas.

http://​cgi​.ebay​.com/​w​s​/​e​B​a​y​I​S​A​P​I​.​d​l​l​?​V​i​e​w​I​t​e​m​&​a​m​p​;​i​t​e​m​=​1​8​0​7​6​1​3​1​7​6​9​2​#​h​t​_​5​0​0​w​t​_​1​287

Just in case you thought your old work was worthless or you just can’t get enough of Marget.

November 2, 2011

Geezer’s Gathered 2011

Filed under: Uncategorized — Admin @ 4:00 pm

Here are the photos to prove it. Click on the link to the right or click here.

October 27, 2011

Ward Schumaker has shows in NYC, NY – Nashville, TN – & Washington, DC

Filed under: Now Showing — Admin @ 4:51 am

Identity Papers | O K Harris Gallery | New York
Opening Saturday 29 October 2011 3-​​5pm


Ivan Karp of O K Harris offered me a show after seeing my mixed-​​media works in the book Identity Papers.  These are small pieces, 10” tall x 6” wide, made up of sketches, hand-​​cut paper callig­raphy,  Unlike most of my paintings, many contain elements of recog­nizable imagery. I am very pleased to be showing in a gallery with such a rich and important history.

Ivan Karp served as co-​​director of Leo Castelli Gallery from 1959 – 1969, during which time he was instru­mental in launching the careers of pop artists Andy Warhol, Roy Licht­en­stein, Robert Rauschenberg, Claes Oldenburg,  Tom Wesselmann and John Cham­berlain. In 1969, Ivan broke away to launch his own gallery, O K Harris. OK Harris was among the first to exhibit the work of Duane Hanson, Deborah Butter­field, Manny Farber, Richard Pettibone, Robert Bechtle, Malcolm Morley, Arman, and others.
My wife, Vivienne Flesher, and I look forward to attending the opening, 3 – 5 pm, Saturday, 29 October.
The show remains up until 03 December.
O K Harris | 383 West Broadway | Gallery D | New York, NY


Geog­raphy Lessons | Zeit­geist | Nashville
Opening Thursday 03 November 2011 5-​​8pm


Zeit­geist Gallery in Nashville will mount a show of my work, Geog­raphy Lessons, during the month of November.
Zeit­geist has been very kind, giving me one of my first shows, Grace, in 2005, and including me in a number of its group shows. This exhibit consists of ten paintings and three hand-​​made books. My wife and I look forward to attending the opening, 5 – 8 pm, Thursday, 03 November.
The show remains up until 17 December.
Zeit­geist Gallery | 1819 21st Avenue South | Nashville, TN


Sight and Identity | Stanford-​​in-​​Washington | Wash­ington, DC
25 October 2011 to 22 January 2012


My illus­trated version of Paris France by Gertrude Stein appeared in the Seeing Gertrude Stein Five Stories exhibit at San Francisco’s Contem­porary Jewish Museum and will now move to Wash­ington, DC, to appear in Insight and Identity, Contem­porary Artists and Gertrude Stein, at Stanford-​​in-​​Washington.  Beside the book itself, my portrait of Ms. Stein will appear, silkscreened, on the wall of the gallery where the book will be on display.
The limited edition letter­press book was published and is available from The Yolla Bolly Press, Covelo, California.

Stanford-​​in-​​Washington | 2661 Connecticut Avenue, NW | Wash­ington, DC

September 10, 2011

The story of the Heir

Filed under: war stories of advertising — Admin @ 7:57 pm

The Heir ad for Bank of America by Jack Allen, photographer and Ad Taylor, art directorHere’s a little story about the creative process, back in the days when such a thing was possible.

One day in the 1960s Jack Allen and I were having one of our periodic, vinous, Friday lunches at Venetos, near his studio. After copious amounts of red wine, I mentioned the agency’s (Johnson & Lewis) urgent need to come up with a savings ad for Bank of America. our largest client.
Savings ads were noto­ri­ously and inher­ently boring, but I had the glim­mering of an idea.

Ad: “Jack, what if we had the reading of a will, with all the rich uncle’s household gathered in the lawyer’s office? Maybe we could use Belli’s office.”

Jack: “We could cast it right now. Let’s get a phone.”

Between us, we came up with the cast:
The lawyer: Wally Brazeal, an ad rep, perched on the edge of Belli’s desk, looking lawyerly.
The widow: a very proper older model from Ann Demeter’s agency, with lorgnette and fox fur.
The heir: A young nephew, played by Tom Rice, an art student, in preppy horn rims.
The butler: Mr. Lancaster, formerly of the French Opera Company, tall, white haired elderly gent in full butler’s regalia.
The chauffeur: Homer Welch in proper livery, carrying the widow’s Pekinese dog.
The mistress: Pat Mahan, model from Al Duartís agency, ravish­ingly sexy in bouffant blond wig, black dress, pearls, cigaret holder, and a fabulous fur from Roberts Brothers.
Everyone except the lawyer and the heir looked pissed off, including the Pekinese.

The heir was beaming, he was getting the money!
When we called to get permission to use his office, Belli was enthu­si­astic.
We scheduled the shoot for Saturday morning, the next day. Milt Halber­stadt signed on as lighting consultant. Belli came with his infant son, Caesar.
The shoot went well. We got the film rushed to processing. We took Pat, still in char­acter, to the Temple Bar where a boyfriend tended bar. He didn’t recognize her at first.

Sunday I wrote the copy.
Monday morning I sent out for a rush C-​​print and spec­ified the type. Monday afternoon, I pasted up of the finished comp.

Bright and early Tuesday morning, I took the ad into Dan Lewis’ office.
Dan: “Where the hell did this come from?”
Ad: “Jack Allen and I ran it off over the weekend.”
Dan: “How much are you in for on this?”
Ad: “I figure about $3,000 in expenses.”
Dan: “I better take this up to the Bank myself.”

He did and presented it to Charlie Stuart, BofA vice pres­ident for adver­tising.
Charlie loved it. (Thank God!)
It ran a long time, won an award in the L.A. Art Director’s show, and I think everyone got paid.
Ad Taylor

September 4, 2011

Geezers Gallery 54

Filed under: New Galleries — Admin @ 1:51 pm

Bryn Craig


Paintings

August 26, 2011

Logo Legend

Filed under: war stories of advertising — Admin @ 11:45 am

A RE-​​BIRTHDAY STORY

In the 1950’s I was the Creative Director for Botsford, Constantine and Gardner, San Fran­cisco office. My favorite account was Japan Air Lines. We had a very sound creative strategy to market the airline to Amer­icans, based on research from Doctor Dichtor (an early social researcher). Simply put: don’t talk about equipment, even though it was from Boeing and McDonald Douglas); don’t talk about the cockpit crew (even though they were mostly Amer­icans); don’t talk about Japanese effi­ciency. Do talk about Japanese arts, crafts and culture. And by all means, remind the Amer­icans that Japanese women were the most charming, well mannered and helpful in the world.

Japan Air Lines, through the influence of Mike Sloan (the Botsford Japan Air Lines Account Super­visor), sent me on an Arts and Culture tour of their (then) desti­na­tions including Hong Kong, Singapore, Thailand and Japan. I concen­trated on Kyoto, Nara and Nikko – three cities that did not suffer too much bombing that also are important reli­gious and cultural centers in Japan. What I learned on this trip had every­thing to do with my design of the Japan Air Lines logo.

In 1957. Japan Air Lines asked Botsford, Constantine and Gardner to create a new logo and livery. It was unusual that a large corpo­ration would go to their adver­tising agency for this kind of design work. This type of assignment was usually the purview of design firms like Raymond Lowey or Walter Landor. Many airplane manu­fac­turers offered logo deign as part of their contracts (Japan Air Lines used MacDonald Douglas as well). I was doubly pleased that it landed in my lap because I had a design in mind.

When I trav­elled in Japan I was impressed that the branding business had been going on there for hundreds of years, espe­cially for the Samurai families, whose crests adorned prac­ti­cally every­thing the family owned. The one I chose for Japan Air Lines was a crane attributed to the Mori family. Working with my designer, Reg Jones, we modernized it and created a handsome presen­tation book with hard cover and French paper. The content of the book was the art of the logo and its appli­cation to aircraft, ground equipment, stationery, docu­ments, point-​​of-​​purchase, etc. – twenty-four pages in all.

A meeting was scheduled to show our stuff. I wish I could remember the month and day – all I recall is that it was very hot and humid in Tokyo. The meeting place was on the fifth floor in a rather dingy office building. The conference room was in a corner of a large room packed with people, many women. When the door was opened, we saw a 12’ x 16’ room domi­nated by a long table at which sat about a dozen men who looked at us as if we had inter­rupted them. I remember there was a group hiss. The most striking feature, though, was the mass of logo sketches, drawings, paintings and even some plaster bas reliefs covering the walls and table, ending instantly our belief that ours was the only logo being considered.

Seats were found for us as the discussion continued, giving us a chance to study the designs. None of them were in any way outstanding. They mostly seemed to be versions of the Lufthansa speed bird. Finally the Japanese conver­sation ceased and our contact asked us to show what we had done. It took about ten minutes. It all had to be inter­preted and I didn’t know anybody in the audience or what their interest in the project was. Their expres­sions were, of course — inscrutable. Mike Sloan finished with thanks. We sat down — I was soaked!

The discussion continued for the rest of the that day into the late afternoon of a second day when the Japan Air Lines Pres­ident came into the room with a small entourage. There was much bowing. He seated himself and our book was laid before him and the inter­preter turned the pages for him and rendered the expla­nation. It took about eight minutes though by then I was unable to measure time. When the Pres­ident finished he said some­thing, stood up — more bowing — and walked out. The meeting was over. Everyone gathered their papers to leave.

Mike asked the inter­preter what the pres­ident had said. It was some­thing like, “America is our most important market. Amer­icans know best what Amer­icans like, so tell the men from our American adver­tising agency we accept their design”.

The crane (Tsurumaru in Japanese) flew for over forty years — almost a record. It was replaced in 1989 by a Walter Landor design, modified radi­cally in 2002, again by Landor.

The big news was announced by Japan Air Lines’ pres­ident on January 19,2011, “ The JAL Group today will adopt a new corporate policy and announces its decision to change its logo from April 1, 2011” going on to say, “The motif that will be used is of a soaring red crowned crane with its wings extended in full flight, an auspi­cious icon repre­senting the high spirits of the Japanese people and their sensitive attention to detail.”

Funny thing. The date they said the crane/​logo returns would start on April 1st, 2011, my 84th birthday.

Jerry Phillip Huff
August 25, 2011

Illus­tration from The Way of the Samurai. Note the Crane design.

The original Mori Samari family creast the inspiration

The original Mori Samari family creast the inspiration

The original Mori Samari family creast the inspiration

The Japan Air Lines Logo design presented by Mike Sloan & Jerry Huff in Tokyo in 1957.

The final version used for 40 years -dropped for 13 and reintroduced in 2011

The final version used for 40 years –dropped for 13 and rein­tro­duced in 2011

A double page magazine ad appeared in Look, Life, Time, Newsweek and featured a real hostess in full kimono

A double page magazine ad appeared in Look, Life, Time, Newsweek and featured a real hostess in full Kimona.

August 8, 2011

A tribute to Charlie Allen

Filed under: Uncategorized — Admin @ 2:56 pm

Charlie Allen passed away on July 11, 2011. I have not found an obituary, but Chuck Pyle alerted me of this three part (August 3rd — 5th) tribute on Lief Peng’s blog: http://​todaysin​spi​ration​.blogspot​.com/

July 29, 2011

Fond Memories of Don McKee

Filed under: Uncategorized — Admin @ 7:32 am

I have fond memories of Don McKee. He gave me a start at Artworks. I learned how the business worked there. He had so much talent at sketching out a concept. And he gave anyone a chance.

Robert Evans

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