RIO BRAVOFINE ART:1 DEAD/ 2 LIVING

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1 DEAD 2 LIVING

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"HEAD"
gouache, 8.75 X 6inches
©WILLIAM BERTRUM SHARP

William Bertrum Sharp

Born: Pueblo, Colorado Jan 21, 1924
Died: Ft. Lyons, Colorado ?

William Bertrum Sharp achieved national recognition in the 50s, and then virtually dropped out of sight. In 1966, a one-man show at the McNay Art Institute, San Antonio, Texas, renewed his fame. An intensely private artist, eventually Sharp was again lost to the public eye.

[My work] "was purely a battle I had with my own prosaicness . . . I'm not a recluse, but I have spent much time alone. Without solitude one has difficulties in envisioning for himself -- building the essential castles in his own mind."

William Bertrum Sharp

prints by William Bertrum Sharp

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"BIRD OF PARADISE" acrylic on paper, 2.5 X 2 inches ©STEVE CATRON	Steve Catron "I don't like doing interviews." Steve Catron return to top of page display a printable page

"ADAM AND EVE"
oil, Diptych, 20 X 20 inches
©THOMAS SCHLOTTERBACK

Schlotterback: The Genuine Candy Striped Jesus

"THE GENUINE CANDY STRIPED JESUS CHRIST
GOD-POT SLOT MACHINE"
oil on canvas, 40 1/4 X 28 1/4 inches
©THOMAS SCHLOTTERBACK

Thomas Schlotterback

Only humans do art. An imperative in the human genetic structure drives each to respond in a personal manner to that form designated by all cultures by that word, art. Fully realized art is the element that defines the intellectual and humanitarian parameters of the elevator culture rides, up or down, to its destiny. In it's most effective form art becomes aesthetic flatulence in culture's elevator. Its corrosive effect on cultural senses makes the ride uncomfortably unbearable for all but the perpetrator, the artist. As a result two auxiliary factors arise. They are Art History and Art Criticism. Art History is the academically sanctioned attempt to validate the obnoxiety of the emission and in its perpetrator. Art Criticism is the self-serving reveling in the smell.

Regardless of all else the history of art, which is different from Art History, goes on, minute to minute, hour to hour, generation to generation as it has since the obscure beginnings of humanhood it prevails through exigencies. Artists, genetically driven like lemmings, mark the melody, place the paint, score the stone, or worry the word and, increment by increment, art is created unceasing and continuous into its future. The artist's charge is to keep the aesthetic sphincter strictured sufficiently that only the odiferous oblation and nothing of greater obduration issues forth to burden the pace of, or visually foul the interior of the elevator.

Unfortunately such stricture control is impossible; for only humans do art.

Thomas Schlotterback

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