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Self Portrait – Expecting is a finalist for the ARC Salon 2019!

My Self portrait painting has been selected as a finalist for the ARC Salon 2019 Competition!

I was fortunate to have my painting, “Admiral Vox” travel for last years exhibition and I couldn’t have been happier with how the Art Renewal Center (ARC) handled everything. It was such an incredible experience to have my artwork hanging alongside so many extraordinary pieces. I traveled to Barcelona to see the final installation of the exhibit at the MEAM which is a beautiful space. It’s inspiring to see so many contemporary artists pick up the tradition and make interesting work that’s relevant today. I couldn’t be happier to have another painting selected as a finalist.

Learn more about “Self Portrait – Expecting” in my previous blog post.

This year they received over 4,300 entries from 73 countries. The number of entries grew by more than 1,000 from last year! Winners will be posted July 1– please wish me luck!

CLICK TO VIEW FINALISTS

About The Art Renewal Center

“Leading the revival of realism in the visual arts, the Art Renewal Center (ARC), a 501(c)(3), non-profit, educational foundation, hosts the largest online museum dedicated to representational art and includes works by the old masters, 19th century, and 21st Century Artists as well as articles, letters and other online resources. The ARC is the foremost and only vetting service for representational art schools ensuring that the teaching curricula and quality of teacher and student work meet our strict standards to become ARC Approved™. The ARC Salon Competition, which is the largest and most prestigious competition in the world for realist artists painting, sculpting and drawing today with eleven categories and thousands of works competing, culminating in a traveling live exhibition of many of the winning works. The ARC works with other ARC Allied Organizations™, artist groups, museums, and publications to become a central news hub for the 21st Century Representational Art Movement. Read the ARC Philosophy written by ARC Chairman, Frederick C. Ross, to learn why ARC is so passionately dedicated to representational art.

Congratulations to all of the finalists!!

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Self Portrait – Expecting

The idea for the painting “Self Portrait – Expecting” came back when I was six months pregnant with my son and most of my reference images were gathered at that time. Rabbits were a big part of my childhood and I had two rabbits that lived in my painting studio. My rabbit Eleanor, was a natural addition to the painting. Not only did she sit at my feet while I painted, her species has been seen as a symbol of fertility for more than seven-hundred years.

I didn’t start painting “Self Portrait – Expecting” until my son was two and a half and after a series of miscarriages, I had recently learned that I was pregnant again. Eleanor had passed away since the photos were taken and right in the middle of working the painting, I lost yet another pregnancy, the fourth since my son was born. The act of making this painting was such a bitter sweet experience. The painting is about fertility, yet while making it, I was experiencing so much loss. I think that some of my resolve, the strength that I had to keep up for the sake of my two-year old made its way into my expression which changed throughout the painting process. In the end, the painting has become a reminder for me to be grateful and never give up hope.

This painting is on view at Arcadia Contemporary in the group show “ARC Visions 2019“ through March 2nd 2019.

Arcadia Contemporary
39 E. Colorado Blvd.
Pasadena, CA 91105

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ARC Visions 2019

New works for exhibition

I have three new rabbit paintings up at Arcadia Contemporary for the Art Renewal Center “ARC Visions 2019“, a group exhibition featuring the winners of the “Arcadia Contemporary Award” from the 13th Annual International ARC Salon. It’s an impressive group of artwork by eleven different artists and I had the privilege of meeting two of the artists at the opening, and another in Barcelona a couple of weeks before. Lovely people and extremely talented and dedicated artists. Go to Artsy to see all of the artwork in the exhibition. The exhibition is up through March 2nd.

The ARC Salon is an internationally revered competition that attracts submissions from some of the finest realist painters in the world.

The Art Renewal Center is a 501(c)(3) non-profit educational foundation championing the revival of realism in the visual arts and is devoted to furthering the realist art movement and helping talented artists with strong technical skills thrive. Arcadia Contemporary is recognized as one of the premiere showcases for those artists.

Arcadia Contemporary
39 E. Colorado Blvd.
Pasadena, CA 91105

Return to the Wild, 30" x 36", oil on aluminum

Return to the Wild, 30″ x 36″, oil on aluminum, contact the gallery for inquiries

Self Portrait - Expecting, 16" x 12", oil on aluminum by Rebecca Luncan

Self Portrait – Expecting, 16″ x 12″, oil on aluminum, contact the gallery for inquiries

A Silent Gathering (Aspen and Hare), 6" x 4", oil on aluminum by Rebecca Luncan

A Silent Gathering (Aspen and Hare), 6″ x 4″, oil on aluminum, contact the gallery for inquiries

A Silent Gathering (Aspen and Hare), 6" x 4", oil on aluminum by Rebecca Luncan

A Silent Gathering (detail)

ARC visions 2019 exhibition at Arcadia contemporary Rebecca Luncan Installation

Installation at Arcadia Contemporary

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Barcelona, here we come!

After two very successful showings at the Salmagundi Club in New York City, New York this past October and then at Sotheby’s in Los Angeles, California in December, the 13th International ARC  Salon Exhibition is on its way to the Museum of Modern Art (MEAM) in Barcelona, Spain. The ARC Award Ceremony and Grand Opening Ceremony will take place at 7pm on February 8th, 2019 at the MEAM (C/ Barra de Ferro 5 08003 Barcelona, Spain).

The ARC Salon will continue to be on display at the MEAM from February 8th-March 31st, 2019 with the general hours being 11am to 7pm, Tuesday through Sunday.

The competition is known for not only recognizing work by nationally and internationally acclaimed artists, but also for discovering new and upcoming talent. The 13th International ARC  Salon Exhibition, consists of 89 Contemporary Realist works selected from over 3,750 entries from 69 countries.

I’ll be traveling to Barcelona for the opening with my husband and (almost) three year old son to see my painting of Admiral Vox who is keeping excellent company. Wish us luck!!  And feel free to send me tips on traveling with a toddler if you have them. 🙂

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“Arlington” at The CVG Show

Making large paintings takes me a very long time since I put so much detail into my work. Arlington took almost two years to complete with breaks in the schedule for finishing commissions and Monthly Miniature’s. The painting was exhibited Santa Fe in the 14th International Guild of Realism exhibition, hosted by Sugarman-Peterson Gallery and it has also been selected to be included in The 12th annual Collective Visions Gallery (CVG) show. This exhibit pulls together artwork made in every quarter of Washington state that exhibit the best qualities of contemporary and traditional art. The show is considered Washington’s richest juried art exhibition and is one of the biggest in the Northwest and I’m really excited to have my work included in the exhibit. 131 artists’ works were selected by Gary Faigin, co-founder and Artistic Director of the Gage Academy of Art from nearly 1,200 submissions.

The exhibit opened on Jan. 26 and it closes Feb. 23 at Collective Visions Gallery, 331 Pacific Ave., Bremerton. It’s a lovely show and great excuse to take a ferry ride over for a weekend adventure! Go to my figurative paintings gallery to see more works in the this series.

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Owen and Silvan, a Miniature Portrait of Brothers (as birds)

This month’s miniature portrait of brothers features the sons of artist Jennifer Zwick. Jenny is a fixture in the Seattle art community, and I’ve known her since long before she had kids. I’ve always been a great fan of her work, her contagious grin, and her breathtaking beauty (I’ve nicknamed her Snow White, and yes, she is the fairest of them all!).

detail of Miniature portrait of brothers. oil painting by Rebecca Luncan

Detail of, “Portrait of Owen and Silvan”
4″ x 4″
oil on copper

I did a painting of Jenny once upon a time, and I’ve been excited to make a portrait of her boys. I originally imagined a classic miniature, but these two just didn’t quite fit the mold. Jenny sent me dozens of images, some of which fit my original idea, but there were so many goofy shots. These kids are definitely raised in a very creative household, and I felt more and more that their portrait should reflect this. There were several images that fit, but I love the expressiveness of the two of them in this image in particular. You see so much about their relationship, and capturing it in a painting was worth the madness of painting such tiny faces and hands.

This is the smallest-scale portrait I’ve made in a long time, and if I never work so small again, I’ll be glad the last time was for Jenny. Please take the time to enjoy a peek into her life as an artist mom, through her words and images below.

Please visit the gallery of Monthly Miniatures, and learn more about all of the Artists featured in the series in the Archive.

Words from Jennifer, on being an artist and mother:

Jenny Zwick, art and family

Jenny Zwick, art and son Owen

My first thought is to write about how the restrictions of parenting have affected my work: how, when I was first pregnant, I could no longer build large sets, so instead made tiny wearable rooms (which I call “head sets”) with dollhouse hardwood floors and framed artwork which attach magnetically and look hilarious and unreal; or when I was pregnant a second time, and so large I could barely move, and my art grew even smaller still, making miniature watercolors of Nintendo game systems.

But if I focus away from how parenthood makes one’s artistic career smaller (no residences; harder to attend openings; expensive child care; higher stakes and confusion about if making art really is a priority), I see that it was a very natural thing for me to incorporate parenthood into my artistic practice and output.

Jenny Zwick, art and sons Owen and Silvan

Jenny Zwick, art and sons Owen and Silvan

Before pregnancy, my work often focused on what I experienced as a child – things I thought might be possible, or wished could happen, or might as well have.  My obsession with optics, with the disconnect between how our senses literally perceive the world, and then how our brain translates these into the impression of a coherent experience, this was amazing to see firsthand as my children learned about object permanence, or how proximity affects scale (older son’s first airplane trip: “when do we get small?” since he’d only ever seen airplanes flying overhead, in perfect miniature distant detail), or what aspects of a world we will completely take for granted, and what sticks out as wrong, or as special, or as notable.  One ongoing photo series of mine involves building set-based narrative photographs depicting young girls in surreal circumstances, staging remembered childhood ideas and atmospheres.  I was recently able to create several new images, and for the first time, there are adults – two of the photos have mothers; one with her daughter, and one hugely pregnant.

Jennifer Zwick, "Hello 2" 2010 21" x 31" Archival pigment print

Jennifer Zwick, “Hello 2”
2010, 21″ x 31″
Archival pigment print

During my first pregnancy I had a show called “Partum” which was hung in three sections: First Trimester, Second Trimester, Third Trimester – the work was all very distinct, as I adjusted to giving up Ritalin, then as I became anemic, and then as I dealt with acute nervousness and humor about the impending birth.

Recently I revisited a photograph I made for that first “Partum” show, which was about how the female body is treated as a public object. For that photograph I stretched chaotically patterned fabric on a frame, cut a hole in it, and stuck my third-trimester belly through. Photographed head-on, it is a strange exercise in depth, with the flat fabric directly parallel to the picture plane, and the belly jutting out, impossibly round. In the new iteration, I mounted the life-sized photo on foam core, cut the belly button out, and attached it to a small motor which I wired to rotate, comically spinning in the middle of this huge belly, just as weird and humorous and insane as it is to grow a freaking person in your body.

Whenever possible, I love having my kids help with my projects, building or installing or whatever won’t 1) derail the project 2) ruin everything or 3) kill them.

Jenny Zwick, art and sons Owen and Silvan

Jenny Zwick, art and sons Owen and Silvan

Additionally, making large-scale art projects means I end up with interesting and odd materials – one project involved taking site-specific photographs of banal locations at Seattle Center, then printing them out life-sized and reinstalling them on location as photo opportunities.  In order to ensure I had the exact right focal length and composition I made several rounds of large black and white test prints at copy centers.  I did not end up creating a piece at the Kobe Bell Pagoda location, so my then 5-year old son had a great time using all the huge images for his own purposes.  One of them became the backdrop for a “play” he wrote about ghosts, and we brought it to the pagoda and he performed the play (which involved a surprising amount of jumping in dried leaves).

Jennifer Zwick, "The Moment" 2017, 28.8" x 40" Archival pigment print

Jennifer Zwick, “The Moment”
2017, 28.8″ x 40″
Archival pigment print

Jennifer Zwick

From Jennifer about her artwork: Trained in photography, I work in a variety of media, including large-scale installations, wearable sculptures, painting, interactive video installation, printmaking, and photographic processes. I am particularly interested in optics, symmetry, humor, one-point-perspective, anxiety, repetition, repetition, and repetition.  I create artwork which requires the viewer to reorient themselves, using one-point-perspective, in- camera techniques, site-specific construction, and sculptural installation, presenting nonlinear narratives depicting the fraction of a second where something fundamentally concrete is shifted just enough to turn an ordinary moment into something gently surreal.

I firmly believe that by making art which looks fantastical but is constructed rudimentarily, “in real life”, an opportunity is created for the viewer to think about what we will accept as real; about how much our brains miss when we move through the world; about what we take for granted and how much power we truly have to reshape our reality.

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Artist Choice Award

As customary during their annual juried exhibitions, the International Guild of Realism (IGOR) asks the gallery hosting the exhibition to appoint a guest judge(s) to award ribbons in different categories for outstanding artwork. I’m happy to share that I was awarded the Artist Choice Award for my portrait of my sister in law, painted with oils on aluminum, “Arlington”.

Congratulations to the Winners!

Best of Show – Ed Copley “When the Sun Rises”
American Art Collector Editor Choice – Ed Copley “The Torn Hat”
Bill & Sue Rowett Collector’s Choice – Lee Alban “May the Warm Winds of Heaven Blow Softly upon your House”
Robert Kirkpatrick Best Still Life – Sandra Robinson “Monkeys”
Best Figurative – Duffy Sheridan “The Whale Watcher”
Best Landscape – Lee Alban “May the Warm Winds of Heaven Blow Softly upon your House”
Best Tromp l’Oeil – Jorge Alberto “Allegory of the Arts”
Director’s Choice – Sandra Kuck “My Dear Angus”
Pioneer in Realism Award – David M. Bowers “Animal Instinct”
Creative Achievement – Marissa Oosterlee “The Forever Search”
Artist’s Choice Award – Rebecca Luncan “Arlington”
Best Floral – Jane Jones “Three Graces”
Best Wildlife – Camille Engel “Patient Observer”
Best Drawing – Heather Ward “That was You?”

Take a look at the whole exhibition online on the Sugarman-Peterson Gallery’s website.

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Realism Exhibition in Santa Fe

If you’re in Santa Fe this coming weekend, please stop by Sugarman-Peterson Gallery to see my painting, “Arlington” oil on aluminum, 24″ x 36″. The gallery is hosting the 14th International Guild of Realism exhibition, which will feature a blend of contemporary and classical realism. Stop by the gallery anytime from October 5 to October 29 to see some amazing work from 91 different artists. The reception is this Friday, October 5th from 5:30 to 7:30pm. View the whole show on the gallery’s website.

About IGOR

The International Guild of Realism, also known as IGOR, was founded by a group of renowned realist artists in 2002. They now represent the work of over 390 members from over 35 countries. The Guild’s mission is to advance realism in fine art. They do this through organizing museum exhibitions, art gallery shows, workshops and education programs, marketing support, and internet exposure.

It’s inspiring to be a member of guild filled with so many talented artists. I exhibited two paintings in the 13th International Guild of Realism exhibition last year in Carmel.

Please go to my figurative painting gallery to see more paintings in this series. If you’re interested in purchasing this painting, please contact the Sugarman-Peterson Gallery.

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Children of Artists, Miniature Portrait Painting of the son of Barbara Robertson

Portrait of Sean

Sean, the happy kid featured in this month’s monthly miniature, is the son of artist Barbara Robertson. I was first introduced to Barbara in the basement at the Seattle Art Museum many years ago and have been following her brilliant career every since.

There is a fear for many women that their career will not recover after being put on hold to raise kids. That is no less true for artist moms, who deal with the additional challenges in being a woman artist who have historicaly been less recognized in museums, galleries and art history publications. Every step forward in a victory, and Barbara is another inspiring example that it can be done. Among other things, the story she tells below highlights how powerful it is to have a role model. Thank you Barbara, for being another incredible inspiration!

Paintings in this Monthly Miniature series fall somewhere between commission work and my original works. Like a commission, source images for these miniatures may come from family photos or be taken by me. But whereas I involve clients in my commissions, both in selecting photos and composing the painting, I take full control in the Monthly Miniatures. Most parents see these portraits for the first time when you do, here in the newsletter. I love the process of composing a painting in collaboration, but having complete freedom gives me a different connection to the painting, and it is helping me develop confidence in my choices.

Barbara (far right) pictured with her family. Her son Sean (left middle row with green hat), husband, step children, grandchildren and nieces and nephews.

Words from Barbara, on being an artist and mother:

When my son was born, I really didn’t know what it was like to be an artist, or anything else, except being a young girl. I had wanted, and dreamed, of being an artist since I was fourteen when I met my first professional, working artist. I was full of the enthusiasm and optimism of youth.

She was the mother of my best friend. I had not dreamed of being a mother. But when I had my baby at age 19, at least I had a great role model for how to be an artist and a mother. My friend’s mother had a studio in her home, with a door that she kept closed; her own private space. I was often invited in to see her work and receive her advice when I was in high school.

My baby was a surprise, of course…who plans a baby at 19? I was a freshman in college, so had taken a few introductory courses and loved it. I was determined to get my degree in art and determined to get my MFA, which I did. It took me ten years, going part time, to get my BFA. I was so naïve, that I did not know that no one takes you seriously as an artist if you are a woman and certainly not if you are a mother. If someone had told me that, I would not have believed them. I had my friend’s mother as an example and I just proceeded as if I had no impediments.

By the time I was in graduate school, my son was ten, and being a parent and a beginning artist was much easier but still a challenge. I was always juggling commitments to find time to make some art. My son often came to UW with me in the evenings and rode his skateboard down the halls of the art school building befriending and charming some of the other students.

Being a young parent definitely has its advantages; you can carry your child around for a long time without getting tired, have endless energy and certainly no carpel tunnel stress that most mature mothers experience. You have lots of stamina and optimism but, the downside is that you are not very smart. And you don’t know what you don’t know. I’m pretty sure that was a disadvantage for him. So my son and I grew up together. He went everywhere with me and lived around creative people and “alternative” life styles and was always a welcome part of the group. This has, I think, contributed to him being a tolerant, wise, independent and intelligent person. As he got older, I devoted more of my time to my art and I think that he thinks that having an artist mother is a natural thing. He is a self -employed craftsman and an amateur chef.

"Rough Cut 3" acrylic and collage on paper, 44" x 30", by Barbara Roberts

“Rough Cut 3″ acrylic and collage on paper, 44″ x 30”, by Barbara Roberts

Barbara Robertson

Seattle based artist Barbara Robertson is known primarily for her work in experimental printmaking. Recently, she has expanded her practice to include digital animation and sound installations. Awards for her work include grants from the Seattle Office of Arts and Culture City Artists program, 4Culture Individual Artists award, 4Cullture Artists Projects grants, Artists Trust GAP grant, a KALA Art Institute Fellowship and the Neddy Fellowship from the Behnke Foundation.

In 2004 her work was included in “Events,” a collaboration with the Merce Cunningham Dance Company, Joyce Theater, New York. In 2012, her work in animation was exhibited at the 4Cutlure Electronic Gallery in Seattle, in 2012 at “aproject space” in Seattle, Washington, at Trykk 17 Art Center, in Stavanger, Norway and at the Eleftherias Art Center in Athens, Greece.  In the winter of 2013, her animation “Three Phases,” was exhibited on a large outdoor screen at the Gates Foundation in Seattle.  In 2014, three animations and one work on paper were part of a large special exhibition at the Tacoma Art Museum, titled “Ink This! Contemporary Print Art in the Northwest.” Robertson’s work shown in 2014-2016 as part of “The Intersection Between Science, Art and Technology” exhibition at the American Embassy in Bern, Switzerland. In 2015, her work in animation and print was exhibited at “Impact”, Hangzhou, China. Three animations were shown in 2016 at 4Cullture’s E4C electronic gallery.

Robertson’s work is included in private and public collections including the State of Washington Percent for Art, King County Public Art Collection, the City of Seattle Portable Works Collection, Harborview Medical Center, Tacoma Art Museum, University of Washington Special Collections, US Trust and Safeco Corporation. She has a Master of Fine Arts degree from the University of Washington, Seattle. She established the print art program at Pratt Fine Arts Center in Seattle, served on Pratt’s board of directors and is the founder and past president of Seattle Print Arts. In 2016 she curated and organized a satellite exhibition in conjunction with the Seattle Art Fair, “In Context” exhibiting large scale work by thirteen regional artists. In 2017, her large scale, sight specific animation installation, “Architectonic” was exhibited at Oxbow Art Space in Seattle.

 

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Portrait Paintings of the Marsden Family

Finishing up my latest Monthly Miniature of Olwyn Marsden, I thought it would be fun to see a portrait I painted of her when she was little, along with portrait paintings of her parents and don’t forget the dog! Nippy has sadly passed, but his joy of car-rides lives on. All of these paintings are in the Marsden collection. Go to Tim Marsden’s website to see his artwork.

Mother Daughter Double sided, interactive oil Painting on Copper by Seattle artist Rebecca Luncan

Transfiguration 20, Mother & Daughter
oil on rotating copper panels (double sided painting)
7.5″ x 5″ x 3.5″ (framed)

 

Portrait of an artist Double sided, interactive oil Painting on Copper by Seattle artist Rebecca Luncan

Transfiguration 21 
oil on rotating copper panels (double sided painting)
7.5″ x 5″ x 3.5″ (framed)

 

Long haired dachshund oil painting

Nippy, Oil on aluminum, 5 1/4″ x 9 1/2″

The portrait paintings of Tim, Sandy and Olwyn are from a series of interactive paintings. The viewer can spin a small knob at the underside of the shadowbox frame and spin the image to view another painting on the other side. You can see more of these paintings in my interactive painting gallery.

The portrait of Nippy was a finalist in the 2016 ARC Salon Competition.