CONFERENCE & RECEPTION : SATURDAY, MARCH 12, 2016
CONFERENCE : 10 A.M. – 5 P.M.
OPENING : 7 P.M. – 9 P.M.
The Art of Painting in the 21st Century is an annual conference, in
its seventh year, and is geared towards nurturing dialog on
contemporary painting and the shared ideas that define current trends
in the field. Many painters work alone, an isolated process that
deprives the artist of thriving debate until the work is shown. This
year’s conference will feature the world renowned painters Richard C.
Whitten,Mark Van Proyen, Chester Arnold, Melissa Chandon and Richard
In an intimate setting, interact with top artists in a way not
possible elsewhere. UC Davis, home to artist Roy de Forest, Roland
Peterson, Wayne Thiebaud, and Robert Arneson, was instrumental in
defining a new direction for a uniquely West Coast style. Nowhere else
in the country will the participant be able to interact and discuss
the purity of painting in one place. Meet face-to-face with
distinguished artists you might only read about; see and hear what
makes them the top of their field. No other conference lets the
participants discuss and comment on modern painting with such inspired
knowledge and insight.
The conference’s goal is to gather artists from varying communities,
allowing for open interaction between young students and professionals
in the field, fostering the strong tradition of painting and culture
in the Northern California region.
Schedule of Events
10:00 am Technical workshop by Chester Arnold.
1:00 pm Lecture by Richard Hull
2:15 pm Lecture by Richard Whitten
3:30 pm Panel discussion featuring Melissa Chandon and critic Mark Van Proyen.
7:00pm Artist Reception and Gala
Richard Whitten’s paintings are considered sculptures by some viewers. He paints illusions of space so effectively that they appear as though they are alternate realities. He paints on heavy wooden boards, constructed and cut into shapes, which reference motifs reminiscent of Dutch triptychs yet are also modern departures from rectangular formats. The architectural spaces and objects in his works create a sense of disorientation and mystery. A common motif in Whitten’s work is the cycle: orbiting planets, spinning gears, cats chasing mice, or zeppelins floating around an axis. The compositions are saturated with allegorical references and allusions. Each work is a complex composition both visually and conceptually, derived from Whitten’s own years of study, travel, and teaching.
Richard Hull is known then for painting “abstracted architectural interiors where towers, gabled roofs, and arched doorways combine with geometric solids and intersecting planes to form a framework in which various figurative elements are situated.” Hull calls his recent paintings and drawings (2011-2015) “stolen portraits.” His crayon drawings, in particular, are portraits in the form of hairdos, each one expressing a distinct visual personality rather than a representation of a particular individual. In Hull’s stolen portraits, horse tails now resemble looping flower petal forms – building blocks for portrait-like structures. The bulbous loops are accentuated by minute, repetitive, often concentric actions within the large masses.