Sunday, November 25, 2012

Solo exhibition in December at F.A.N. Gallery

Kate Kern Mundie, City Hall in Fog, 14 x 12 inches, oil on pane

Kate Kern Mundie: New Paintings

December 7 – 29, 2012
Opening Reception December 7, 5 – 9 PM
Artist’s Reception December 9, 1 – 4 PM

Sunday, November 18, 2012

New "Gruss vom Krampus" print by James Mundie now available

Last year while creating a label for a special Krampus-themed ale of my own concoction, I decided to also use the design for paper lanterns to be displayed in my home on Krampusnacht itself (December 6th) but also during the first annual Krampuslauf Philadelphia. However, when I shared the design with some friends, the reaction was so overwhelmingly enthusiastic that I decided to make prints available, too. This year, I turned the second lantern design — a striding Krampus with a child in his basket — into a second print.  Perhaps next year I will also make these available in t-shirt form — but for now, you can adorn your walls instead of yourself.

New for 2012: Gruss vom Krampus poster print by James G. Mundie

For those unfamiliar with Krampus, he is a goat-like horned devil with a long red tongue traditionally associated with St. Nicholas — however, this kinky Germanic yuletide spirit's folkore tradition actually predates the Christian era. The people of Europe's alpine regions had been marking the annual arrival of Krampus for many centuries before the concept of Christmas came along, and well before a certain former bishop of Turkey stole the spotlight. Traditionally, Krampus serves to punish naughty children by whipping them with switches or tossing them in icy rivers. Like Black Peter, Krampus is the "bad cop" to St. Nick's "good cop".

This large print professionally printed on heavy stock is perfect for the naughty child (of any age) on your holiday list. 

Order yours today at You can get this and last year's design togther for one low price. 
Season's beatings!

Sunday, October 14, 2012


Kate Kern Mundie, Obelisk, 36 x 48 inches, oil on panel

I was attracted to this view for the reflections in the water. Above the water is hard angle, geometric forms layered and stacked up against a sky. Their reflections soften into gentle simple shapes on the surface of the Schuylkill River.

After finishing the painting, I struggled to come up with a title. Jim suggested Obelisk and I thought it was a good fit.  An obelisk was a form created to imitate a ray of sun--as if a column of light became a solid form. The Cira Center looks more like a chunk of sky in solid form than a ray of sun.

Saturday, September 29, 2012

Seismic Sideshow returns!

Once again I was called upon to design a poster for Seismic Sideshow, a benefit "of earth-shaking proportions" for the 11th Annual Sideshow Gathering — the world's only convention for sideshow and variety performers.  This year's poster is based on the volcano logo I came up with last year, but this time it is a trifle more atmospheric.

Presented by Shocked and Amazed! On & Off the Midway and sponsored by Ripley's Believe It or Not!, this performance will happen on Friday, 5 October 2012 at Washington DC's Red Palace.

Featured on the bill will be: "Coney Island" Todd Robbins, star of the recent stage hit Play Dead — playing now in Mexico City and opening soon in London; the world's most adorable sword swallower, Heather Holliday — fresh from the Edinburgh Fringe Festival, Coney Island's Sideshows by the Seashore, and Pretty Things Peepshow; the demented diva of Valentine Candy Burlesque, Rev. Valentine; from the award-winning Cheeky Monkey Sideshow: Mab Just Mab, Mr. Eon, Sally the Cinch, and Swami YoMahmi; and special surprise guests!

The idea for Seismic Sideshow (and the title) came from James Taylor, publisher of Shocked and Amazed! On & Off the Midway, after Franco Kossa, founder of the Sideshow Gathering, passed away suddenly last May.  Every year, Franco had paid out of his own pocket most of the expenses entailed in making the Sideshow Gathering happen, but in the wake of Franco's death his widow Kim was unable to take on that financial burden herself.  However, as that year was to mark the 10th anniversary of the Sideshow Gathering, everyone involved wanted to do what they could to make the event a success and a tribute to Franco.  So it was that James Taylor came up with the idea of mounting benefit performances in the weeks leading up to the Gathering with the proceeds gathered helping to offset the considerable nut for the Sideshow Gathering itself. Many performers, including the Lucky Daredevil Thrillshow and Olde City Sideshow, enthusiastically contributed their talents. Last year, there were Seismic Sideshow events held in Washington DC and Baltimore.  A potential Baltimore gig for this year fell through, but a Philadelphia incarnation is presently in the works.

Tuesday, September 25, 2012

Hats Hats Hats Part 3

Kate Kern Mundie, Hats, 20 x 40 inches, oil on panel
Hats sat in the studio the last few months. It was finished but something was bothering me. I would look at the painting, then turn it to the wall, then come back to it later for a look. I was happy with the way the hats had come out. I was not sure about the way the background was resolved. I had played with the painting and background as I had worked on it, trying different things. But in the end simplicity is best. I think it is finished now.

Monday, August 13, 2012

James Mundie's drawing J. R. Bass, The Ossified Man has received the Mary Butler Trust Purchase Award as a result of its inclusion in the 113th Fellowship of PAFA Exhibition in the Alumni Gallery of The Pennsylvania Academy of the Fine Arts, 29 July through 9 September 2012.  The drawing is now part of the prestigious collection of The Fellowship of the Pennsylvania Academy of the Fine Arts.  The exhibition was juried by Martha Mayer Erlebacher and features works by thirty-one PAFA alumni.

James Mundie, "J. R. Bass, The Ossified Man", ink drawing on paper, 14 x 3.75 inches

The Fellowship of the Pennsylvania Academy of the Fine Arts was founded in April 1897.   Earlier that year, a notice was sent out to several thousand PAFA alums stating the intention to create an organization devoted to "the welfare of the Academy and the benefits to be derived from a common purpose and close union." Cecilia Beaux was one of the prominent artists elected to serve among the Fellowship's first officers.  

Since that time, the Fellowship has been devoted to celebrating the accomplishments of its members by exhibiting and collecting their works and directly supporting young PAFA artists through cash awards.  The Fellowship Trust has grown through donations and the occasional sale of works from the collection at auction.  All proceeds from theses sales are returned to the trust to further augment the Fellowship' mission and continue the tradition of "artists helping artists."  

Tuesday, August 7, 2012

A Painting is Home

Above the Old Surgery is home. It has joined the collection of award winning poets Pattie McCarthy and Kevin Varrone.

As a painter I manipulate globs of paint and dabs of color. I push paint, making marks with my brush or palette knife to make visual connections and create relationships between shapes. The paintings are intended to tap into emotion and give the feeling of place.

Pattie and Kevin do the same with poetry. They use words, space and punctuation to create connections between word, song, play, environment and visual art.  There are lines in some of Pattie's poems that I have read over and over. There is a painting in those lines. Her work knits together ideas about our position as women, art, and the readers connection to the written word.  Kevin's poems brim with humor. They are filled with an urban landscape expressed in word. His poems capture the atmosphere and stillness of the environment. It is that same feeling that I look for when I am deciding on my painting composition looking at a landscape.

You can read an excerpt from Kevin's latest poem here and or from his series here.

You can read excerpts of Pattie's poems here. 

Friday, August 3, 2012

Poobah, fire-eating dwarf

We bid a fond farewell to Pete Terhurne, who passed away this week at a nursing home in Florida. Little Pete was a constant companion of showmen Chris Christ and Ward Hall, with whom he began working in the 1950s after Pete was "discovered" as a young man at a fair in Minnesota. Pete worked with Ward for a few weeks that first summer, and from then on was hooked on the business of show. As Poobah, Pete was a constant performer with the World of Wonders on midways and fairgrounds across the United States - typically working the bally stage as a fire eater - until declining health forced him into retirement two years ago. Pete was also well known in the circus community as a clown, and had quite an impressive resume of television and film appearances.

Tuesday, July 31, 2012

Book Review and Breaking my Bad Habits

The Creative Habit: Learn It and Use It for LifeThe Creative Habit: Learn It and Use It for Life by Twyla Tharp

My rating: 5 of 5 stars

Add this to the life altering book list.

After having children I was looking for some sort of guide to help me balance, full-time work and family and still have time to make artwork. I gave up there was nothing out there.

I found The Creative Habit: Learn It and Use It for Life. It was like a light bulb went on. It all seemed so obvious once Twyla Tharp put the words on the page. She give guidance and examples of what has worked for her and relates it in a way that is easy to digest. She asks questions that  generate closer personal inspection.

I spent hours journaling thoughts triggered by her book. I have great habits and routines when it comes to my kids and corporate job and terrible habits when it came to my art practice- the thing that sustains me and energizes me. 

The book relates to my art practice and my work in the corporate world. This is a good book to have on the shelf to read again if I fall out of my creative habit again.

View all my reviews

Thursday, July 26, 2012

Available Works

Friends have been asking what paintings I have available right now. I have some paintings available for sale or barter. Please email me at if you are interested in any of the paintings.

I am preparing for a show at FAN Gallery in December 2012 and I will also have work in a gallery fundraiser for Camphill Special School at Rosenfeld Gallery in December 2012 (just down the street from FAN Gallery). Many of the new paintings you have seen posted recently on the blog will be for sale at those exhibitions.

Below are some older paintings that are available now. Please contact me if you are interested in pricing options.

Kate Kern Mundie, Delaware at Pennsbury No. 1, oil on masonite, 6 x 8 inches 
Delaware at Pennsbury No. 1 is a small painting but has a big visual impact. The colors and brush strokes really carry from a distance as you can see in the small photo below, which is also closer to the actual color.

Below is how the piece is framed. Most of the paintings available are framed in a 4-inch- wide by 1-inch-deep gold leaf frame.

Delaware at Pennsbury No. 1, oil on masonite, 6 x 8 inches

Kate Kern Mundie, Sunrise over Finegand, oil on masonite, 6 x 8 inches  

Jim and I spent some time in the Scottish highlands a few years ago. We  enjoyed an unusually snowy winter there. The sunrise and sunsets turned the snow amazing shades of pink and orange.
SOLD Kate Kern Mundie, Delaware Water Gap No. 1, oil on panel, 16 x 16 inches
Kate Kern Mundie, Notre Dame from Ile Saint-Louis, oil on panel, 24 x 20 inches

The cloud formation in Notre Dame from Ile Saint-Louis, may seem strange to an American eye. I love painting the sky and clouds. When you travel you get to experience very different cloud formations and colors caused by different qualities of light, humidity and reflection.  You might think, "The sky is the sky. How different could it be?" But, for instance, when I was painting in Cape Cod I noticed the sky reflects the sea making the blues more saturated. In Paris in the winter, the weather patterns come from the North Atlantic and Arctic making wonderful roiling dark clouds that reflect the sun in one moment and look dark an ominous the next, or simultaneously.

Kate Kern Mundie, Ruins of St. Andrews, oil on masonite, 16  x 20 inches

SOLD Kate Kern Mundie, Bridge over the Delaware, 8 x 16 inches, oil on panel

Kate Kern Mundie, Fog on Pamet River, oil on masonite, 8 x 6 inches

Kate Kern Mundie, View from Knocknarea, oil on masonite, 16  x 20  inches
SOLD Kate Kern Mundie, 8th and Market Streets (Lits Bros.)
oil on panel 30 x 20 inches
You can read more about this painting here.

Kate Kern Mundie,Glengesh Pass No. 2, oil on masonite, 16 x 24 inches

Glengesh Pass in County Donegal, Ireland, might be the most beautiful place on earth. So glad I have had the opportunity to paint it.  
SOLD Kate Kern Mundie, Above the Old Surgery (Pennsylvania Hospital)
oil on masonite, 20 x 16 inches

Sunday, June 24, 2012

Rosemary, Oregano and Color Temperature

Kate Kern Mundie, Rosemary and Oregano, 10 x 14 inches, oil on panel

I brought home rosemary and oregano from our community garden. It was so lovely I had to paint it before I could cook with it. The herbs added a nice smell to cover the normal aroma of oil paint in the studio. 

I used a palette of  earth tones and greens. The earth tones were Burnt Sienna, Raw Umber, Spanish Earth, and Rosso Veneto . I used Titanium White, Indian Yellow, Ultramarine Blue, Cinnabar Green, Terra Vert, and Courbet Green. All are  Williamsburg Handmade Oil Colors. The red earth colors act as color compliments to the greens. A complimentary color is the opposite of a color and is mixed from the other primary colors. For example, red (a primary color) is complimented by green, which is made from yellow and blue (the other primary colors). Blue’s complimentary color is orange, which is made from yellow and red. I used two of each color, a warm and a cool. Burnt Sienna and Rosso Veneto are both red colors. Burnt Sienna is warm and Rosso Veneto is cool. Raw Umber and Indian Yellow are both yellows but Raw Umber is cool and Indian Yellow is warm.  You are thinking, where is the other blue? When Corbet Green is mixed with a little white it looks blue and works as my cool blue.

the palette

I am left handed and arrange my palette with white in the corner and reds and browns accross the top. Raw Umber could be a brown or a yellow. Blues, yellow, and greens down the left side. I mix my colors in the middle.  L to R top: Titanium White, Burnt Sienna, Spanish Earth, Rosso Veneto, (Vermilion- not used) Raw Umber (its dirty with a lot of green in it) T to B side: Ultramarine Blue, Indian Yellow, Cinnabar Green, Terra Vert, Corbet Green. 

You can see on my palette pictured above, I mixed several different greens. I added Indian Yellow to the group of greens on the left and Raw Umber to the group on the right. The Indian Yellow makes the greens warmer and the Raw Umber cools them down. 

Background color tests
When I was picking a background color, I needed a color that would make the greens in the main object, the cup of herbs come forward. The actual background is unappealing yellowing wallpaper. I did not want to paint the old wallpaper into my painting. A general rule is that warm colors come forward and cool recedes. If I used a warm color for the background it might make the background pop forward. I thought about using blue but thought it was too close to the greens. Spanish Earth is very cool and leans towards purple and the blue family. I ended up using Rosso Veneto mixed with white. It was the cooler of the reds and complements the greens.

Friday, June 22, 2012

Hats Hats Hats Part 2

Kate Kern Mundie, Hats, 20 x 40 inches, oil on panel

Last week I posted photos of Hats in progress. I feel like the painting is finished. I might turn it to the wall for a while and look at it in a month and see if I want to make any changes. The owner of the hats and my personal art critic, James Mundie will have something to say about it too.

Tuesday, June 19, 2012

Hats Hats Hats

Kate Kern Mundie, Hats (work in progress), 20 x 40 inches

I am posting a work in progress.  I have been working on this painting in 15 minute to half hour increments. I catch a few minutes when the kids are eating dinner or playing in their room. Sometimes, I plunk the kids in front of the TV so I can paint. Its all part of the juggling act trying to manage to art-making, working a full time job, and doing the mom and wife thing. I often feel guilty about the time I spend with the kids or the time I spend in the studio. A line in Daybook: The Journey of an Artist by Anne Truitt sums up my feelings,  "It is becoming apparent to me that the mother and the artist do not speak much to each other, and when they do the speech is initiated by the artist who wishes to off about her business." 
Kate Kern Mundie, Hats (work in progress 2), 20 x 40 inches

Kate Kern Mundie, Hats (work in progress detail)

You can see the finished version here.

Friday, June 8, 2012

Still life or Portrait?

Kate Kern Mundie, Hat and Camera, 24 x 16 inches, oil on panel

Can you paint a portrait of someone without painting a person? I think of this painting as a portrait of Jim instead of a still life. Jim is known by his hats and is often snapping photos with one of his cameras.

I LOVE painting hats; the shape is so nice.  The hat has some structure but also some organic form from being worn.  They seem so simple but can get complicated.

Saturday, June 2, 2012

Finishing the Work

Kate Kern Mundie, Bridge, 12 x 14 inches, oil on panel
 A painting of the Brooklyn Bridge looking at Brooklyn. 

Kate Kern Mundie, Beaver Farm late morning, 16 x 20 inches, oil on panel
A painting of Beaver Farm in Chester Co. Pennsylvania.

Unfinished paintings can sit for months in the studio. Some paintings are started en plein air at the location but cannot be finished there due to time constraints, or change in light or weather. I take photos and do sketches that I can use later to finish the painting.

The two paintings above sat in the studio for nearly a year until I felt ready to come back to them. What takes so long for me to finish some of my paintings? Sometimes I am unsure of the direction I want to take in the painting. Most of the time it's fear that I will really mess it up if I go back into it. Finishing work can be challenging; knowing when the painting is finished so you don't over work it and being willing to explore new directions that may be different than the original vision

Saturday, May 5, 2012

Bowman' Hill

Kate Kern Mundie, Bowman's Hill, 24 x 34 inches, oil on panel
On a warm day in late winter we went to Bowman's Hill in Bucks County. It is part of the Washington's Crossing National Park along the Delaware river.  I did a small limited palette study of the sheep barn below the tower to play with the composition. You can see it here. Over the last few weeks I have been working on this larger version with an expanded palette.

Saturday, April 21, 2012

House in the Dunes

Kate Kern Mundie, House in the Dunes, 16 x 20 inches, oil on panel

I am in love with this tiny cottage perched in the dunes at Ballston Beach, Cape Cod. The path to the beach skirts the house and I always want to peek inside. I painted a nocturn of the house a couple of years ago (see below) and returned to it as subject matter once again. I am stalking this house in paint.

The new painting is more of a portrait of the house than a landscape with a building. I wanted to show its size and give a feel of its fragility. The house is built on piers and the dunes have drifted and shifted out, under, and around the house over the last 100 years.  The beach is eroding by about 20 to 50 feet every year. I fear one of these summers when I return to Ballston Beach the house will be gone.

Kate Kern Mundie, House at Ballston Beach, oil on masonite, 24 x 20 inches, 2010

Sunday, April 15, 2012

New Still Life

Kate Kern Mundie, Gerber Daisy Cocktail, 12 x 14 inches, oil on panel
Jim bought Gerber daisies for my birthday and placed them in a retro cocktail shaker since he could not find a vase.

I had more fun painting these than I have with recent still lifes.

Tuesday, April 10, 2012

Nature Morte

Kate Kern Mundie, Tradescantia Pallida and Orange, 14 x 12 inches, oil on panel

The French term for "still-life" is nature morte, which sounds rather depressing. I like still-life paintings, and the idea of painting a still-life.  It is a great way to explore the design, shape, and color of objects. However, I struggle to create compelling compositions or render the objects in the manner I feel they deserve. I get too fussy trying to capture details. And Jim says I get morose and overwrought when I paint a still-life, but that could be because I am struggling with it. The painting above is more or less a successful attempt after several bad paintings.

When I was in school I read Charles-Édouard Jeanneret's and Amédée Ozenfant’s manifesto, Purisim. They proposed that there are perfect composition formulas for painting still-life based on the so-called golden mean or ratio using orthogons. They felt Cubism had degenerated and painters should make clean and simple paintings based on the mathematical formulas of the golden mean. Jeanneret and Ozanfant thought design was more important than color.  

image via MOMA: Le Corbusier (Charles-Edouard Jeanneret) Nature Morte,
1920. Oil on canvas, 31 7/8 x 39 1/4" (80.9 x 99.7 cm).

Below is an example of how the golden mean applies to painting composition. 

Image via An example of the golden mean

The general rules for setting up a composition are:
  1. Break up your painting surface into thirds.
  2. Don’t place the main focal point at the center of the canvas. Place it to the side, off-center.
  3. Have curved and a diagonal forms that bring the eye off and back onto the surface of the painting. 

The golden mean is a great tool to creating a pleasing design, but I treat color as equal to form. While good design provides a foundation, I find color creates an emotional connection. Diebenkorn's work is a good balance between design and color. I always find inspiration in his paintings.    

Image via MOMA: Richard Diebenkorn, Large Still Life,1966. 
Oil on canvas, 64 1/2 x 70 1/4" (163.8 x 178.4 cm)

I like how Diebenkorn's still-lifes are of ordinary objects arranged in a natural way. It does not feel as contrived as Le Courbusier's painting of guitar, stack of plates, bottles and book. I try to make my own still-life set-ups feel natural and not too cluttered. Often I am attempting to recreate a grouping of objects that I saw somewhere else in the house, just arranging them in the studio on a table where I have the room to work and the light to paint by.

Saturday, March 24, 2012

Delaware Canal and Bucks County Barns

Kate Mundie, Delaware Canal, 24 x 16 inches, oil on panel
We made a trip to the New Hope area in Bucks County recently. Among other sites, we stopped at Bowman's Hill near the Delaware Canal.
Kate Mundie, Bowman's Hill (study), 4 x 6 inches, oil on pane
This is a limited palette study for a larger painting. Limited palette means it was painted using only ultramarine blue, burnt sienna (reddish brown), raw sienna (yellowish brown), and titanium white.

Kate Mundie, Bucks County Barns or 2 Red Barns, 7 x 8 inches, oil on panel
Closer to New Hope, I saw these two red barns. This was one of those times where the painting came together quickly and easily. I love those kinds of inspirational moments.

Friday, March 16, 2012

Independence Hall

Kate Kern Mundie, Independence Hall Sunrise, 14 x 12 inches, oil on panel
I work in a building across from Independence Hall. I see the building nearly everyday and I have painted it several times. You can see the other paintings here and here.  The iconic bell tower on the building is the most interesting part to me. On this morning, the buildings at Independence Mall and its surrounds melted into a mass of blues and lavenders and the sun caught on the bell tower and the ornamentation on the Bourse building in the background.

This painting is still a work in progress. I have a few details to add and some edges to define.

Sunday, March 11, 2012

Painting of the Benjamin Franklin Bridge over the Delaware River

Kate Kern Mundie, Bridge over the Delaware, 8 x 16 inches, oil on panel
When working on this painting,  I tried to keep the painting loose and quick and simplify the view into silhouetted layers.

Friday, March 2, 2012

Painting at None Such Farm, part 2

Kate Kern Mundie, Nonesuch Farm (Lime Kiln), 8 x 16 inches, oil on panel
I the fall we took the boys to None Such Farm in Bucks County. It is a farm that was part of the original land grant to William Penn and has been in the same family for many years. There was a lime kiln on the farm at one time and you can still see where the lime was excavated but the kiln is now gone. You can read about my other trip to None Such Farm here.

Saturday, February 25, 2012

"What does Joe do?"

I wanted to post this story that a friend emailed me after reading my blog post, "Sewing Machines". He asked to remain anonymous:


I love your work on sewing machines. They are quite masculine to me, though. I don't know if I told you, but my dad is a tailor. His shop has 3 machines, including 1 blind stitch, that are like industrial revolution relics. He used to make custom suits for the neighborhood men.

The shop, and Dad, were like scenes from Guys and Dolls. When I was a kid I used to go in with him on Saturdays. There was a guy, Joe, who sat at the machine next to the phone. He would never sew, just answer the phone when it rang (often), and write things on a little pad. Since I was always slow on the uptake, it took me months to ask Dad, "What does Joe do?" "He takes messages," was the answer. It took me more years to realize that Dad was running a bookie operation, in addition to the custom suits. More characters came in and out of that shop than I could possibly remember.

So, thanks for spurring some funny memories at a time when Mom and Pop (98 and 92) are in their waning years. Pop is now starting to think about quitting the shop. An era will pass for me when he does.

Friday, February 24, 2012

Painting on Cape Cod

Kate Kern Mundie, Highland Road, 14 x 12 inches, oil on panel

In June, we went to Cape Cod for an art making holiday. We rented a cottage tucked into the dunes in North Truro near Coast Guard Beach and under the watchful eye of the Highland lighthouse. There was a house up on the hill behind ours and I climbed up there and did a painting from the porch. From that house you could see both the bay and Atlantic Ocean sides of the cape. This is a view looking down Highland Road towards the bay with Provincetown in the distance.

Sunday, February 19, 2012

Painting at Beaver Farm

Kate Kern Mundie, Beaver Farm, 8 X 16 inches, oil on panel
On a perfect fall day I drove out to Beaver Farm. It is a working farm that is part of Camphill Special School’s transitional program. Camphill Special School hosts artists to paint at its bucolic location as a fund raiser for the school and gives artists time to work in a beautiful setting within a community of other painters. This was the third year of Plein Air for Camphill Special School but my first time. I was really happy I could join the group of artists and support the school.

When I arrived at the farm, I was given the tour by Guy Alma who runs the program. He showed me around the new campus buildings and then the barn built in the 1930s.  I got to see the new piglets born just days before and some heifers and nurse cows and get a bit of history about the farm. 

I set up on the hill overlooking the fields and woods towards French Creek and was soon joined by Joe Sweeney. I painted for a few hours and then returned home. 

The exhibit  and sale in support of Camphill Special School will take place in December 2012 at Rosenfeld Gallery. I will post more information as it becomes available.

Saturday, February 11, 2012

I recently interviewed Al Gury for his February show at FAN.  Al was one of my teachers when I was a student at PAFA. I love his work and his thoughtful approach to painting.

As a student, I would go to Al's studio on the 5th floor of an old warehouse building in Old City. It is just as you might imagine an artist's living and work space to look. Al's studio was filled with paintings and drawings, works in various stages of being completed. His living area was full of books and collected work, paintings by contemporaries and mentors. Al also collected American Arts and Crafts ceramics and furniture. I remember thinking, "This is what I want my life to be like."  

You can read the interview here

Saturday, February 4, 2012

Interview with James Mundie published in Bizzarro Bazar

I recently conducted an interview about Prodigies and Cabinet of Curiosities with Bizzarro Bazar, an Italian blog dedicated to the wonderful world of weirdness.  That interview, published in Italian, appears here.  Even if your Italiano is rusty, there are plenty of pictures to enjoy.  Ciao!

James G. Mundie, The Lady with the Two-headed Kitten, ink drawing on paper, 2006

Tuesday, January 24, 2012

Preparing for a Show

I have a show in less than a year. Here are a few landscapes and interior paintings that may end up in the show.

Kate Kern Mundie, Arch Street, 14 x 12 inches, oil on panel

Kate Kern Mundie, Bed Room and Bath, 14 x 12 inches, oil on panel

Kate Kern Mundie, Byzantine Bell Tower 14 x 12 inches, oil on panel

Kate Kern Mundie,  The Athenaeum , 14 x 12 inches, oil on panel