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Artist Exhibitions:
1959 Texas Fine Arts Annual,
Austin,Texas
1959 Europe:Texas Fine Arts
Traveling Exhibit Of
AwardWinners
1963 Larry Kaiser
Watercolors, Fechermann
Gallery, Zionsville, Indiana
1972 Geologic Abstracts, J.
L. Richards Showroom,
Columbus,Ohio
1980 Cartoons As Art,
BiddleGallery,Escondido,Califor
nia 1981 Cupps of Chicago
Showroom Exhibit
1981 Juried
Exhibition,Sheldon ...
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Artist Galleries:
Aaron Art And Frame,
Indianapolis, Indiana
Hawaiian Art, Wahiawa,Hawaii
Personal Preference, Chicago
The Final Touch, Indianapolis
J. B. Art, Chicago
Cupps Of Chicago
Artistic Impressions, Chicago
Art Finds, Chicago
Chicago Art & Frame
Kaiser Art Enterprises,
Indianapolis, Indiana
...
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Artist Reviews:
Coming Soon!
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Collections:
United States Department Of
Defense,Washington,DC
Farm Bureau
Insurance,Indianapolis
Route 66 Museum,Chicago
Rock
Resources,Inc.,Columbus,Ohio
United States Army Infantry
Officer Candidate
School,Georgia Great American
Masters,Inc.,Chicago
Cupps of Chicago
Personal
Preference,Inc.,Chicago
CollectorsCorner,Inc.,Indianapo
lis,Chicago,Florida,California,
Texas
Beck Seed Company,...
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Commissions:
Bradley Gray
DDS,Westfield,Indiana
Lee and Cathy Rulon,
Arcadia,Indiana
Dr. Kundradt, Oceanside,
California
Joe and Ilene Seed, Chicago,
Illinois
Farm Bureau
Insurance,Indianapolis
Cyril and Christina Hurnyak,
Pittsburg, Pennsysvania
William and Pam Montgomery,
South Bend, Indiana
Charles King, Arcadia, Indiana
Aaron Art and Frame,
Indianapolis, Indiana
Don Glassner, ...
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Artist Statement for Larry Kaiser
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How My Paintings Become Sopwith Camels or the High-Flying Thrills of En Plein-Air.
I pilot a painting. Rev it up. Get it off the ground, something in our environment or our humanity that I find inherently splendid to my eye giving it lift. Then I set it on autopilot…in the direction I hope it will go. I do check the instruments—draftsmanship, painterliness, color (paying special attention to grays and values), communication and visual balance—rather diligently. If nothing bad happens, I relax and enjoy the flight.
There are dangers in the process. Those clichés of habit and art school and patron taste often disguise themselves as inspiration and try to take over the flight. I try to prevent that from happening. And I must recognize when the painting has run into a problem that it cannot pilot through by itself, by inspiration alone. Then, my job is to interfere. A little. Then hope that inspiration, such as it is, has not been insulted, will not sulk, does not sputter and quit the business. The sudden drop in artistic altitude can put my bowels, along with a clog of caustic, sometimes creative, epithets, in my throat. It is a ticklish situation. It gives a precarious thrill.
So, I get a rush. So what? What does anyone else get out of it? Hopefully, a visual thrill. A buzz provocative enough to tingle away at a few deep-seated emotions. Although, you do not see the flight itself, when you see a Sopwith Camel or a Fokker Dr. I Triplane sitting on the tarmac, something in their inherent visual character connects you to tens of thousands of thrilling flights, to over 15000 shoot-downs, to exhilarating air shows, to exotic movies and heroic personalities, to victories and tragedies and romance and more; you can just feel it.
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