Page 258 - index
P. 258
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THE ED PINTO Turner’s approach to life and art was laid-back,
symbolized by his pipe smoking and long lunches, ours
was to act quickly, perhaps too quickly. For Turner,
gallery showings and public painting demonstrations
were an honor. Tey brought him much-deserved
accolades and a break from his daily painting routine.
At such events, he might don his avant-garde clothes,
complete with a silk scarf tied about his neck, and
sometimes he would faunt a secondhand hat cocked to
ft his style. “I’d like to be treated according to the station
Artist Andrew Turner. to which I am accustomed,” he’d say, when he fancied
a special hotel, special restaurant or special budget.
Te day Turner showed up marked the beginning of
On the other hand, Evelyn and I preferred to move
Blue Set by Andrew Turner. a relationship that spanned some 12 years. He made it from show to show with the emphasis on quality art
Over the years, many artists have clear that what he wanted from October Gallery was and not on “pomp and circumstance.” Time was of the
played a major role in the October to put his name and his art in the spotlight. He said he essence because we were responsible for art, artists, staf
had seen frsthand our aggressive promotion of artists.
Gallery story. One such artist was And he wanted in. and a successful event. We were in a hurry to make our
Andrew Turner. October Gallery loved the fact that Turner was a mark in business and in the art industry.
I guess it was around 1988 when this lanky 6-foot-5-inch individual walked prolifc painter. Turner loved to paint and we loved
into the original gallery location (3805 Lancaster Avenue) with a handful of his to sell good art. In the beginning, our relationship was
art. I remember the hatchback red Pinto that he had parked just outside the door. just that simple. Later, we became caring friends.
Evelyn and I were there and he proceeded to show us his work. We had heard
As our organization traveled nationally to some
of Andrew Turner from exhibitions he had done at the Sande Webster Gallery
32 shows per year and grew, it began to require large
and the Rittenhouse Square Fine Arts Annual also known as the “Clothesline
inventory. One critical diference in the work provided
Show.”
by Andrew Turner was that his art was always rendered
Andrew Turner’s art was rendered in a loose form, in an impressionist style. as original paintings, unique one-of-a-kind pictures.
Evelyn and I looked at each other simultaneously and wondered how we could Once we took the time to teach patrons to “see” his
present this art style to our customers. At the time our gallery patrons seemed to work, they couldn’t get enough.
prefer art that was more familiar to them: representative, or fgurative, artwork.
We remember Turner bringing art through the door
We call it realistic artwork because of its easily recognized forms, its near
when the acrylic paint was still wet. Now, you must
portraiture of everyday Black folks. In fact, I said to Turner that our customers
realize that acrylic paint dries almost instantly. So if
were not used to his style and might not understand what was being said. I
the paint was still wet, when and where did he paint
suggested that he add more stokes, more defnition. Turner looked at me and
them? And I would say, “Turner, they’re still wet.”
said, “I try to paint like Miles Davis plays. You don’t have to play all the notes,
And he would look up somewhat tongue in cheek and
just the sweet ones.”
say, “Tey’re fresh.”
Here’s an analogy to the situation: We had been selling popular music like that
Ours was overall a great business partnership.
of Te Temptations and now we had to decide if we could sell more abstract
We did not always see eye-to-eye, however. While Slidin’ Trombone by Andrew Turner.
music like that of Miles Davis.
258 259
THE ED PINTO Turner’s approach to life and art was laid-back,
symbolized by his pipe smoking and long lunches, ours
was to act quickly, perhaps too quickly. For Turner,
gallery showings and public painting demonstrations
were an honor. Tey brought him much-deserved
accolades and a break from his daily painting routine.
At such events, he might don his avant-garde clothes,
complete with a silk scarf tied about his neck, and
sometimes he would faunt a secondhand hat cocked to
ft his style. “I’d like to be treated according to the station
Artist Andrew Turner. to which I am accustomed,” he’d say, when he fancied
a special hotel, special restaurant or special budget.
Te day Turner showed up marked the beginning of
On the other hand, Evelyn and I preferred to move
Blue Set by Andrew Turner. a relationship that spanned some 12 years. He made it from show to show with the emphasis on quality art
Over the years, many artists have clear that what he wanted from October Gallery was and not on “pomp and circumstance.” Time was of the
played a major role in the October to put his name and his art in the spotlight. He said he essence because we were responsible for art, artists, staf
had seen frsthand our aggressive promotion of artists.
Gallery story. One such artist was And he wanted in. and a successful event. We were in a hurry to make our
Andrew Turner. October Gallery loved the fact that Turner was a mark in business and in the art industry.
I guess it was around 1988 when this lanky 6-foot-5-inch individual walked prolifc painter. Turner loved to paint and we loved
into the original gallery location (3805 Lancaster Avenue) with a handful of his to sell good art. In the beginning, our relationship was
art. I remember the hatchback red Pinto that he had parked just outside the door. just that simple. Later, we became caring friends.
Evelyn and I were there and he proceeded to show us his work. We had heard
As our organization traveled nationally to some
of Andrew Turner from exhibitions he had done at the Sande Webster Gallery
32 shows per year and grew, it began to require large
and the Rittenhouse Square Fine Arts Annual also known as the “Clothesline
inventory. One critical diference in the work provided
Show.”
by Andrew Turner was that his art was always rendered
Andrew Turner’s art was rendered in a loose form, in an impressionist style. as original paintings, unique one-of-a-kind pictures.
Evelyn and I looked at each other simultaneously and wondered how we could Once we took the time to teach patrons to “see” his
present this art style to our customers. At the time our gallery patrons seemed to work, they couldn’t get enough.
prefer art that was more familiar to them: representative, or fgurative, artwork.
We remember Turner bringing art through the door
We call it realistic artwork because of its easily recognized forms, its near
when the acrylic paint was still wet. Now, you must
portraiture of everyday Black folks. In fact, I said to Turner that our customers
realize that acrylic paint dries almost instantly. So if
were not used to his style and might not understand what was being said. I
the paint was still wet, when and where did he paint
suggested that he add more stokes, more defnition. Turner looked at me and
them? And I would say, “Turner, they’re still wet.”
said, “I try to paint like Miles Davis plays. You don’t have to play all the notes,
And he would look up somewhat tongue in cheek and
just the sweet ones.”
say, “Tey’re fresh.”
Here’s an analogy to the situation: We had been selling popular music like that
Ours was overall a great business partnership.
of Te Temptations and now we had to decide if we could sell more abstract
We did not always see eye-to-eye, however. While Slidin’ Trombone by Andrew Turner.
music like that of Miles Davis.
258 259
