Tuesday, April 14, 2026

Music and Art at ICA North on an Almost-But-Not-Rainy Evening.

By Lonnie Burstein Hewitt. Photos by Maurice Hewitt.

 

Hannah Arendtby Pedro Reyes.

On the morning of April 12
th, with the weather looking scary, what was to be an outdoor concert at 6 p.m. at ICA North in Encinitas was relocated to the upstairs gallery, and I was wondering if I’d have to wade through mud to see the newest addition to the ICA North Sculpture Trail.

But the weather turned out to be dry and fairly pleasant, and the sculpture was on view in the street-level garden, though there wasn’t much garden there yet. 

Hannah Arendt is an impressive piece made of volcanic stone by Pedro Reyes, a Mexican sculptor and architect whose work hopes to “encourage new ways of seeing and social responsibility.”

He has done a series of sculptures inspired by Hannah Arendt, a German-Jewish refugee who managed to escape from Nazi Europe and ultimately became a U.S. citizen. Best known for her statement on “the banality of evil,” she was a political philosopher and humanist who believed that people are only free when they act together and don’t allow evil to flourish. There’s a Center for Politics and Humanities named for her at Bard College in upstate New York, where she taught for years.

The musical part of the evening was thoroughly delightful, as Art of Elan concerts, indoors or out, always are. The floral displays on the wall gave a sense of the natural world outside, and the acoustics were brilliant, as were the performances.  

Percussionists Andrew Watkins and Fiona Digney.


Hanah Stuart, viola.


The Quartet: Andrew Watkins (percussion), Julie Smith Phillips (harp), Eric Starr (trombone), Hanah Stuart (viola).


Artful Harpist’s Fingers.

And a good time was had by all!

 

Lonnie Burstein Hewitt is an award-winning author/lyricist/playwright who has been writing about arts and lifestyles in San Diego County for over a dozen years. You can reach her at hew2@sbcglobal.net 

Hubbell Brothers Reunited at Oceanside Museum of Art

 By Lonnie Burstein Hewitt. Photos by Maurice Hewitt, except as noted.


James' Mountain of Sculptures. Assemblage by Brennan Hubbell


If you’re a local art-lover, you’re probably familiar with the work of James Hubbell, and perhaps you’ve visited Ilan Lael, the place near Julian he created for his family decades ago that continues welcoming visitors today. Though he died in 2024, his artwork lives on….and now, for the first time, we see some of it alongside the work of his younger brother, Bert Hubbell, who spent most of his life in Japan and was an artist as well.

The OMA exhibition, Brothers in Arts, was curated by Brennan Hubbell, who is James’ son, Bert’s nephew, and an artist himself.

 

Bert's Mountain of Sculpture.  Assemblage by Brennan Hubbell 

Brennan Hubbell with James' Mountain of Sculpture

On an introductory tour of the exhibit, Brennan mentioned the similarities between the two brothers, who never saw each other in person again after Bert and his Japanese wife moved to Japan in the mid-1960s. But they kept in touch with frequent letters, some of them illustrated. Both men had happy marriages and lived near mountains: Bert near Mt. Fuji, and James near the Vulcan Mountain Range. Both felt close to nature, created their own art compounds, and produced an enormous amount of artwork.

Brennan, who was born after Bert left for Japan, finally met his uncle in 2001, when he went to Japan and stayed with Bert and his wife, Hiroko, in their home-- a great experience, where he got to see a lot of Bert’s art and lifestyle.

“To my Dad, everything was a work of art,” Brennan said. “He was a humble person who wanted to inspire people to create a better world. Bert was interested in Shinto and Zen and the ancient cultures of Japan; Dad’s work was like a prayer for the world and the universe.”

All the works in this exhibit were done in this country, before Bert moved to Japan.

“I think they both were in dialogue with their materials, seeing what their materials wanted to do,” Brennan said. “Bert called himself a ‘primitive artist’ and was never willing to sell his work; Dad was the one who went to art school. And they died within weeks of each other, after a reunion by video call, when neither of them could speak but they could still see and smile at each other.”

“This is really a family story,” Brennan added. “And I tried to create compositions of their pieces here that have an instinctual relation with each other.”   

It’s an engaging exhibition, featuring works from the Hubbell Family Foundation and the Ilan Lael archives, and the wall-size assemblages Brennan created are a notable part of the show, inviting viewers to look closely and consider the stories that might be behind every piece on display.

The future of Bert Hubbell's body of work is uncertain. For more about Bert visit his website Unveiling the Remarkable World of Bert Hubbell

Bert Hubbell, Untitled drawing. Curtesy Brennan Hubbell

For more about James Hubbell and the foundation he started visit the Ilan Lael Foundation 

James Hubbell, A Gallery at Ilan Lael, watercolor,


And while you’re on OMA’s second floor, you’re just steps away from Aaron Kramer: Sense of Wonder, a collection of weird pieces made from salvaged materials, on view through August 23.  We particularly enjoyed the artist’s printed statement: “Trash is the failure of imagination.”

If you have time, and the weather is fine, walk a few blocks toward the beach to check out OMA West at The Seabird: An Annex Gallery of Oceanside Museum of Art. It’s a small gallery on the main floor of the Seabird Hotel at 101 Mission Ave. where we found some unexpected delights. 

Brothers in Arts: James Hubbell and Bert Hubbell
On view through September 6.
Oceanside Museum of Art
704 Pier View Way, Oceanside, CA 92054
760-435-3721
Hours: Wednesday-Sunday, 11 a.m.-5 p.m.

 

Lonnie Burstein Hewitt is an award-winning author/lyricist/playwright who has been writing about arts and lifestyles in San Diego County for over a dozen years. You can reach her at hew2@sbcglobal.net

Saturday, April 11, 2026

alchemy + light at William D. Cannon Art Gallery, Carlsbad

by Patricia Frischer


Patricia Grabski

Brandy J Sebastian, Barbara Beck, Priscilla Monger, Susan Hill, Patricia Grabski, Judith Preston, and Carole Massey exhibit together and this show has a variety of photographic techniques as varied as they are. There is digital and analog photography printed on a variety of substrates including metal, acrylic, and fabric.  And their processes are just as varied i.e. wet/dry cyanotypes, van dyke, salt prints, platinum palladium, lumens, and transfers. Photography is simply alchemy and light coming together which explain the title of the show.

These seven women make up the True North Photo Society and they take the phrase true north seriously with each one following their own story lines. The works are displayed on the walls in an interwoven way which is at first confusing, but, interestingly, there is a sort of calm that prevails as the overriding theme seems to be nature. This is re-enforced with soothing music and comfortable chairs. The gallery is light filled. If we saw each artist separately with their individual work grouped together, that would not be the case. 


Gallery View


Susan Hill


Priscilla Monger


Barbara Beck


Carole Massey


Judith Preston


Brandy J Sebastian


alchemy + light
William D. Cannon Art Gallery
Showing until August 23
Carlsbad City Library 
1775 Dove Lane, Carlsbad
Gallery hours Tuesday, Thursday, Friday, Saturday 10 a.m. - 5 p.m.
Wednesday noon - 7 p.m, Sunday 1 - 5 p.m. Closed Monday




Wednesday, April 8, 2026

Cafés and Cabarets: The Spectacular Art of Toulouse-Lautrec at San Diego Museum of Art

by Patricia Frischer



Although Henri Toulouse-Lautrec was born to a rich family, a disability  stopped his legs from growing but pushed him into a world of art during the Belle Époque in Paris. This exhibition is mainly his work with color lithography*, but what is impressive is his gentle and respectful view of  ladies of the night. Yes, there are posters for performances, advertising commercials, but there are also a few lovely little drawings of horses and a dog, and one or two stunning oil paintings. 

Toulouse-Lautrec was friends with Edgar Degas and Vincent van Gogh, and you see influences, especially in the use of large areas of flat color which now look so contemporary, but go way back to the influence of Japanese graphics.

The museum store has a large selection of Toulouse-Lautrec goodies as you would expect, but it was delightful to see two of our San Diego Art Prize artists featured as well. Books, notebooks and candles related to Marianela de la Hoz and ceramic dishes by Beliz Iristay can be found in displays toward the front of the store.

*”In 1987, the San Diego Museum of Art received the spectacular gift of over one hundred paintings, drawings, and prints from the Baldwin Foundation, then overseen by Maruja Baldwin Hodges. This gift drew from the collection of Baldwin M. Baldwin, a Toulouse-Lautrec connoisseur whose holdings of the artist’s work were among the most comprehensive in the world and which were first shown at The San Diego Museum of Art in 1972. In celebration of this gift and the Museum’s centennial, this exhibition shares approximately fifty works by Toulouse-Lautrec from the permanent collection.”


















Belize Iristay


Marianela de la Hoz


Cafés and Cabarets: The Spectacular Art of Toulouse-Lautrec
On view until September 20, 2026

The San Diego Museum of Art
1450 El Prado Balboa Park, San Diego, CA
Monday, Tuesday, Thursday, Friday, Saturday 10:00AM - 5:00PM
Sunday  12:00PM - 5:00PMClosed  Wednesday


Boundless: Reflections of Southern California Landscapes in Midcentury Studio Ceramics at Mingei International Museum

by Patricia Frischer


Boundless: Reflections of Southern California Landscapes in Midcentury Studio Ceramics


Frank  Papworth



Frank  Papworth

Midcentury ceramics from South California is a very impressive exhibition and this is because the Mingei can put together an installation that is dynamic and stunning to view. The use of large photographic murals of landscapes that directly relate to the works on view was so engaging and supported one of the major themes of the show…the relation of  physical landscape to the creation of these works. Political and social landscapes are also woven into the didactic, especially with the display of one work by Peter Volkous from 1970 whose abstract expressionist bent led to non-functional art objects. This was the start of studio ceramics movement.

The Mingei is all about the handmade and Martha Longenecker, its founder,  was a student of Laura Andreson’s and contributed many of the works to this show of nearly 150 objects from Mingei’s permanent collection curated by Guusje Sanders. But others not mentioned below who are featured are  Rupert J. Deese and Vivika and Otto Heino as well as Martha Longnecker herself.  We love the quote from the press release: "Clay becomes the language of landscape.”


Gallery View


Laura Andreson 


Beatrice Wood 


Beatrice Wood


Laura Andreson (left) and Otto and Gertrud Natzler (right)


Laura Andreson 


Laura Andreson - 2 views this and below 


Laura Andreson 


Laura Andreson 


Harrison McIntosh


Peter Voulkos




Restitched: Feed Sacks in Mid-Twentieth Century Quilts 

Guusje Sanders has also curated the small but delicate Restitched display of quilts made from leftover cotton feed sacks. It is interesting to note that these feed sacks in the 1930’s and 40’s were more and more created by the manufacturers to cater to the taste of those who purchased them using softer cotton and removeable or erasable sales tags. Clothes were made from these sacks as well as household furnishings, but it is the impressive quilt covers that tell the story of a handmade art that endures.  

Feed sack: long enough for a skirt!


Feed sack, doll pattern


Feed sack: scrapes for quilt cover


Feed sack: scrapes for quilt cover


Feed sack: scrapes for quilt cover with advertising included



Restitched gallery view

Inside the Design Center 

A quick shout out to the mid-century furniture design show which just ended. The Design Center in Hillcrest was a center in San Diego for all things modern 




Boundless: Reflections of Southern California Landscapes in Midcentury Studio Ceramics
On view until  Jun 7, 2026 

Restitched
On view until  May 10, 2026
 

Mingei International Museum
Balboa Park, 1439 El Prado, SD 92101
Tues - Thu, Sat Sun: 10am - 5pm
Fri 10am - 8pm, Closed Mon


Friday, March 20, 2026

Exquisite Potential: Surviving the 21st Century through Surreal Metamorphosis at The FRONT Arte Cultura

 by Patricia Frischer



Lana Moss

Exquisite Potential: Surviving the 21st Century through Surreal Metamorphosis is on view until May 9 at The FRONT Arte y Cultura in San Ysidro. This gallery space is run by Francisco Eme, a SD Art Prize recipient from 2024 and is a great community resource. This is the 19th year of the annual Día de la Mujer juried and invitational exhibition. We love to see when galleries combine both types of entries. You can see this year’s curator Ariana Torres choices clearly as she is the Assistant Curator at the Mingei International Museum. She specializes in textiles, jewelry, and cultural storytelling, focusing on Filipinx and Mexican/Chicanx narratives. The exhibition features work from over 20 international and local BIPOC women and non-binary artists from both sides of the border.

Be assured when an artist enters a juried show, it is vital to know the selector and what their special interest are. In this case, we loved the fact that there were so many artefact-like works in the show. The exhibition notes that it is drawing inspiration from the Surrealist movement and you could see that in Sarah Garcia’s furred cup or Aida Urbina’s landscapes but certainly the exhibition could not be called surreal. Yes, there is mythmaking like the strange house about hair by Helena Westra and Georgina Treviño’s platonic love swing. And fascism was brought to the fore in the embroidered warships of Aidelen Montoya.

But it appears that Torres love of objects ruled the day and we are happy with that as it was hard to choose which images to share of the many on display. Lana Moss‘s fork appears as the devil’s pitchfork. Alejandra Dueñas’s little pottery woman holds all her hopes and dreams. Isa Guadalupe Medina’s fish is a masterwork of beaded glory. Alondra Zamorano’s woodcut bull is enlivened by a frame the likes of which we have never seen. 

One thing is very true in reading the artists’ statements about their work. They are all in stages of metamorphosis. They are changing from childhood to adulthood, from the effects of society, from fear to empowerment. And yes, this potential for change is exquisite. 


Alejandra Dueñas


Georgina Treviño


Georgina Treviño - detail



Akiko Surai


Avia Rose Ramm


Sarah Garcia


Ari Bird

Ari Bird




Isa Guadalupe Medina


Isa Guadalupe Medina - detail

Kerianne Quick

Kerianne Quick - detail



Mônica Lóss


Helena Westra



Helena Westra


Aidelen Montoya


Aidelen Montoya


Alondra Zamorano



Alexandra Carter



Aida Urbina


Breanna «Nana» Rohde


Nicole Antebi


Nicole Antebi



Gallery View


Exquisite Potential: Surviving the 21st Century through Surreal Metamorphosis
The FRONT Arte Cultura
On view until May 9
Exhibition Tour/ Artist Talk, May 7th, 2026, 5 – 7 pm
147 West San Ysidro Blvd. San Ysidro, CA 92173
 Open hours: Tues – Sat 11am – 6pm
(619) 428-1115 Ext. 206  thefront@casafamiliar.org

Invited Artists
Kerianne Quick
Georgina Treviño
Aidelen Montoya
Sarah Garcia
Akiko Surai
Helena Westra
Ari Bird
Paola Capó

Open Call Artists
Aida Urbina
Alejandra Dueñas
Alexandra Carter
Alondra Zamorano
Ana Villalpando
Ana Violeta Horta
Angela Zamora
Avia Rose Ramm
Breanna «Nana» Rohde
Elizabeth Rooklidge
Gabrielle Berens
Isa Guadalupe Medina
Lana Moss
Laura Estela Huerta Ponce
Mônica Lóss
Nicole Antebi
Olivia Arreguín
Paloma Gonzalez, Unapiel
Simone Quiles
Sitoë Thiam / n-girls collective