Steve has three paintings in the Bolinas Museum’s “Hardly Strictly Mini” exhibit.

“These pieces began as variations on the graphs new to our daily lives. I stuck to the format, but not the science in these. I invented curves, without a thought to flattening them. I used bright colors without regard to whether they might represent good, or bad, just as long as they worked with each other. The last one above, I tilted 90 degrees, and liked it even better.”

The exhibit at the Bolinas Museum lasts through the month of December.

A view from Surprise Valley, painted in San Anselmo, delivered & hung in Watsonville!

We hung Kathleen’s 40 x 70″ painting of the Warner Mountains in the Watsonville home of the woman that commissioned this piece. She lived in the last house, on the edge of Surprise Valley, for 30 years.

Annual Open Studio-November 26, 27 & 28

Kathleen & Steve are holding an Open Studio the Friday, Saturday & Sunday after Thanksgiving, from 11 am to 4 pm, at their home & studio, 38 San Francisco Blvd. in San Anselmo.

Kathleen’s Bolinas Museum auction donation sells way over asking! No time to celebrate- on to the MVFAF this weekend!

This 36 x 66″ oil painting, “Mt. Tamalpais from Blithedale Ridge” will be featured at the Mill Valley Fall Arts Festival along with brand new paintings and prints large and small. I’m looking forward to exhibiting my work at this wonderful festival for the first time in many years. The setting in the redwoods, the high quality of arts and crafts and the focus on our community makes this event unique and wonderful. This weekend, September 18 & 19, 10am-5pm, booth #50. Hope to see you there! Studio appointments are most welcome- just call or email to set a time.

Kathleen’s painting in the 29th Bolinas Museum Auction

Kathleen Lipinski, “Bolinas Lagoon”, 24″ x 20″, oil on canvas.

To bid on this or any of the other auction items, please visit the Bolinas Museum’s website to learn more: www.bolinasmuseum.org

Kathleen Lipinski: Poster artist for the 2021 Mill Valley Fall Arts Festival

This year’s MVFAF will take place in Old Mill Park, Mill Valley, September 18 & 19. Kathleen will be in Booth #50.

For more information on this year’s festival, please visit the MVFAF website: www.mvfaf.org

Kathleen’s Open Studio in May

Kathleen will be exhibiting her recent paintings, as well as prints and note cards as a participant in Marin Open Studios over two weekends: Saturday and Sunday, May 1 & 2, and May 8 & 9 from 11 am – 6 pm, at our home in San Anselmo. Steve is sitting this one out, but will be helping Kathleen. We’re very happy that things are opening up, but we ask that you wear a mask and stay socially distanced. We will not be serving food or drink (a first!). Please stroll our garden during your visit; it’s in full spring swing. We look forward to seeing you and showing what we’ve been creating all year. Visits by appointment are welcome. 38 San Francisco Blvd., San Anselmo, CA 94960, (415) 453-3648

Above: Kathleen Lipinski, “Mt. Tamalpais from Azalea Hill”, oil on canvas, 20 x 36″.

Kathleen’s three large oil paintings.

These three 36 x 66″ oil paintings have been completed by Kathleen within the year. Some may have been posted before, but the quality of the photos of these paintings is now more accurate. All three have been painted around the edges of large profile stretchers. From the top: “Mt. Tamalpais from Blithedale Ridge”, 36 x 66″, 2021; “Sleepy Hollow Fog”, 36 x 66″, 2020; “Mt. Tamalpais/Bon Tempe Reflections”, 36 x 66″, 2020.

The deYoung Museum “Open” Closes.

Steve’s “Sense of Place”

The organization that produces Marin Open Studio is attempting to stay relevant in these lock-down times by offering artists opportunities to participate in online, juried shows. The current theme is “A Sense of Place”, inspired by the recent passing of San Geronimo Valley artist, Connie Smith Siegel. Connie’s trust also contributed an award. Steve received an Honorable Mention and is featured in the short film of the prize winners.
Steve has a long connection with this show title, going back to his college days at UCSC. “While an art student, I had a class with Alan Gussow, from the Hudson River Valley in New York, an artist and activist who had run for Congress. He took our class down to the French-intensive Farm Project to paint & teach the lessons of the importance of land use and landscape. His many paintings of his own garden, compost and harvest were personal and reflected in his unique language of paint. He had written a book, and made a film, “A Sense of Place”, featuring artists in “their” place, throughout the U.S.. It was a slice of artists engaged with the light in those locations, their uniqueness and the artist’s relationship within these varied landscapes. When their work was seen over time, the elements varied, but not their connection, their immersion & love of, and for, their place. The smells, the temperature, the humidity, the light, the land usage, were all part of the language of these artists. 

 Steve entered a painting which he felt best represented a place in the Sierra he has considered home since 1958. He returns each year to fully engage in every part of this intimate, but glacial-sculpted stretch of stream. During the ’80’s Connie and several other artist friends joined Steve & Kathleen, so this place also brought back the spirit of Connie. There is a great photo of Connie sliding down one of the longer granite slides, a look of horror & thrill on her face! Steve’s painting was this same particular granite slide.“ We returned this year, a week before the Creek Fire exploded in flame, burning everything surrounding this place, but not this stretch of creek and the fire continued to burn into the canyon we backpacked into last year. I chose to enter this piece for these personal, emotional reasons, but also for the “sense” or “sensation”, of sitting at the top of this slide. As a kid, you wiggle your butt to get some slickness on your sliders, then look down, anticipating all that compels one to even attempt this: the cold, deep pool at the end, the possibility of missing the turn, the excitement, the thrill, the fear.”

“To start this painting, I took a photo of the top of this slide and I worked on a 3 x 3′ canvas, a larger size for me. As I worked from the photo, I was an observer of a place, but not a participant in the place. So, I tried placing myself at the top, as a kid, and who I am now, with the same sensations, and the painting changed in this direction. The vertigo inducing concentric circles evolved to better plunge over the edge. Remnants of the realism remain, but all else was a search for that overwhelming sense of that very seat. As an artist, I was extremely satisfied with the result. It was a total immersion of,  and in, that place. 

Understandably, not many have sat at the top of a natural water slide, experienced this fluid and active sense of place, recognizing the intent, or execution of something  both intimate & universal. Hopefully, this gives insight into this painting and what inspires Steve’s Sense of Place.