Allied Arts to host exhibit of artist Stephanie Scott

Union Recorder

Allied Arts is host to a new exhibit by Milledgeville artist Stephanie Scott. Titled “A Retrospective: Etchings and Paintings,” many of Scott’s works are influenced by Georgia’s Lake Country.

Stephanie Scott Exhibit - Retrospective

Artist Stephanie Scott holds a watercolor entitled ‘Summer Flowers.’ It is one of the many pieces of art that will be on display and available for purchase during an exhibition of her work.

Originally from Milledgeville, Scott resides in the San Francisco Bay area. Her career in art stretches more than 50 years.

Originally a botany/biology major, Scott soon switched to art. After graduating with a B.F.A. in art from the University of Georgia, Scott moved to San Francisco and continued her education at the San Francisco Art Institute, earning an M.F.A.

For the next seven years, she focused on creating etchings and primarily creates black and white line etchings of plants and landscapes.

“One of the things that I find interesting is that she still uses the same tools and materials and processes that were used in the 17th century,” said Allied Arts director Randy Cannon.

The original intaglio prints have many steps in their creation, and Scott will discuss these steps during an opening reception.

Intaglio, Italian for “beneath the surface,” is the direct opposite of a relief print. A plate is covered in wax or an acid-resistant material and then an image is cut into the material with an etching needle or similar tool. Scott uses a pre-made etching ground and melts splotches onto the plate, which she then rolls smooth.

“The needle glides easily through the wax,” Scott said. “It looks like silver seen through dark chocolate.”

If she wants to make a change to the drawing in the ground, she simply paints out what she doesn’t want with liquid roofing tar. After Scott finishes her drawing on the wax, she will paint over any scratches.

The plate is then dipped into an acid bath where the acid eats away at parts of the plate that are not covered in wax. This creates grooves in the plate into which ink is applied.

Damp paper is applied to the image, and the plate is then put through a high-pressure roller. Due to the pressure from the roller and dampness of the paper, the paper is pushed into the grooves of the plate. When the paper is removed, an image is left on the paper. If the artist desires, he or she can then hand-color the image with watercolor to add color to the original drawing.

Scott says she usually makes 185 prints per etching, and because of her skill and experience in making the prints, a person cannot tell the first print from the last.

Scott has also done a series of colorful watercolors of imaginary places. In 1992, she began a notecard business publishing watercolor studies of flowers she has grown.

“Gardening has been a long-time hobby of mine,” Scott said, mentioning that her other hobby is swimming. “I’ve grown a lot of things I’ve turned into watercolors and etchings.”

Scott has worked from both nature and in abstraction and still has an interest in both.

“To me, abstract work and work from nature are not totally separate things,” Scott said.

Scott also has acrylic paintings and a number of watercolors that were inspired from her hobby in swimming. Those pieces are often abstract.

Her watercolors are painted on a French-made paper that Scott says is as thick as cardboard. Though she says she’s primarily a black-and-white artist, she uses vibrant colors in many of her paintings.

The exhibition of her work in Milledgeville came about due to her visits with family here. During her visits, she would also stop by Allied Arts.

“As an artist, she would come by the gallery and visit,” Cannon said.

She and Cannon began talking about her works, and interest in a Milledgeville exhibition was sparked. The after much planning, an exhibition was finally scheduled for the Marlor House.

The exhibition will feature many etchings and watercolors. All art will be available for purchase, ranging in price from $30 to $700.

Her work will be available for purchase both from the Marlor House during the exhibition as well as Scott’s website,

The Milledgeville Civic Women’s Club will hold a reception honoring the artist from 1 to 3 p.m. Sunday, Sept. 7, at the John Marlor Arts Center, 201 N. Wayne St. Scott will be in attendance and make a presentation on her work, including detailing how she creates etchings. The public is invited to attend.

“A Retrospective: Etchings and Paintings” will be on display from Sept. 7 through Oct. 31. Gallery hours are 9 a.m. to 4:30 p.m. Monday through Friday or by appointment. Visiting the gallery is free of charge.

For more information, call Allied Arts director Randy Cannon at 478-452-3950.




Posted: Sunday, August 31, 2014 9:20 pm





Marlor Art – Retrospective Announcement


Milledgeville artist Stephanie Scott to exhibit
“A Retrospective: Etchings and Paintings” at the Marlor House Sunday, September 7 – Friday, October 31
Allied Arts invites you to “A Retrospective: Etchings and Paintings” an exhibition  by artist Stephanie Scott.   The Milledgeville Civic Woman’s Club will host an opening reception honoring the artist from 1:00-3:00 pm on Sunday, September 7 at the John Marlor Arts Center, 201 North Wayne Street, Milledgeville.  The public is invited to attend.

Stephanie Scott is a native of Milledgeville and currently resides in the San Francisco Bay area.  She graduated with a B.F.A. in art from the University of Georgia and continued her studies at the San Francisco Art Institute where she earned an M.F.A. in art.  Scott has many art exhibitions to her credit and says, “I am excited to have an exhibition in my home town of Milledgeville.”

With a career that spans five decades, Scott has worked both from nature and in abstraction and continues to have an interest in both.  Originally a botany/biology major in college, Scott began studying art, painting abstractions derived primarily from the landscape.  Her work has been influenced by such artists as Gorky, Matisse and Gauguin.  After graduating from the University of Georgia in 1968, Scott moved to California and concentrated on etching for seven years, primarily making black and white line etchings of landscapes and plants. Scott’s original intaglio prints are created through a process that has many steps. According to arts director Randy Cannon, “Scott uses the same tools and materials that were used in the seventeenth century to create her etchings. She will discuss that process during the opening reception.”

Besides the etchings, which are done in black and white, she has done a series of colorful watercolors of imaginary places influenced by the landscapes in the Georgia lake country.

In 1992, Scott began a note card business publishing from her larger watercolor studies of flowers, many of which she had grown; She continues that today and works full time as a professional artist.

“A Retrospective: Etchings and Paintings” will be on display through Friday, October 31.  Gallery hours are Monday through Friday, 9:00 a.m.- 4:30 p.m., or by appointment. There is no admission fee charged to visit the gallery.

To see more images of Stephanie Scott’s work visit:


San Francisco Old Spaghetti Factory Garden – Etching

The original print was made in 1970 by Stephanie.

Now re-drawn and re-engraved for a New 2013 Edition –
by Stephanie Scott


 If you remember San Francisco from those days, you will remember the Old Spaghetti Factory

Flamenco Dancing in the Garden


Inside the Old Spaghetti Factory – Around 1970


The following article By Katherine Petrin discusses The Old Spaghetti Factory This  is the  first  in a series  of articles on  North Beach’s landmark buildings.

Imported olive  oil and cheese warehouse, seltzer water bottling plant, cabaret, art gallery and restauant — how many lives may a building have? Consider this question as you pass by San Francisco Landmark No. 127 at 478 Green Street. Within North Beach there are a number of designated landmark buildings and sites. Some of these are quite well-known and easily recognizable, such as Coit Tower, St. Francis of Assisi Church and Washington Square. Because buildings, objects  and sites can be landmarked for historic significance or other reasons, not only for impressive architecture, the landmark status of an unassuming building might come as a surprise to some readers.

One such building is the Old Spaghetti Factory, a former industrial structure at 478 Green St., between Grant and Kearny, San Francisco Landmark No. 127. The building is currently occupied by Bocce Café and Maykadeh restaurant. The construction date of this building can be traced to the immediate post-earthquake and fire era. Its first owners, the Granucci Bros., were importers of olive oil and cheese. In 1911, it operated as a seltzer water bot- tling plant. Later, Baccigalupi, Casaretto & Demartini, proprietors of the Italian-American Pasta Co., operated a pasta factory there from 1912 until 1955. Built by contractors Saraille and  Lagomarsino, this three-story building was built as a factory and warehouse. It was not architect designed. The utilitarian, wood-frame structure measures 48 feet in height, has horizontal wood siding, and 4-over-4 double-hung windows. As an industrial building, it was built for function without ornamental detail typical of the era or even a cornice. Unlike all other buildings on the block and most in the neighborhood, the Old Spaghetti Factory building is detached, set apart from neighboring buildings with open passages on the east and west sides. Manufacturing facilities were often built as stand- alone structures to facilitate access and the delivery and shipping of materials and goods. Of greater importance, within a predominantly residential neighborhood, the increased risk of fire in industrial settings and the fear of it spreading to adjacent structures meant that industrial buildings were often detached. In the 1950s, a major fire occurred in the pasta factory. It was renovated and sitting vacant when entrepreneur Frederick Walter Kuh saw it in 1956. Freddie, a Chicago native  and former resident of Paris, was then a waiter and bartender at the Purple Onion. He jumped at the chance to take over the raw space for a rent of $300 a month. Within the former industrial facility, Freddie opened the Old Spaghetti Factory and Excelsior Coffee House, launching a new and colorful chapter in the building’s history. Freddie referred to himself as a “Bohemian businessman.” His operation — cafe, restaurant, theater- cabaret and art gallery — was a “smash” from the day it opened, according to newspaper accounts. Also inside was the “Kuh Aud.,” an auditorium or open space for cabaret and musical performances, and the adjoining Flamenco Theater, a replica of an Andalusian café that operated for more than 20 years as a showcase for Flamenco dance, song and guitar. A  1979  article in  the  San  Francisco Sunday Examiner & Chronicle quoted former employee Becky Jenkins as saying that Freddie was sharp at spotting talent and good people. He made the Factory into a haven for homosexuals in the days before there was a gay rights movement. Freddie thrived in the outrageous environment that was the Old Spaghetti Factory, creating a place that was more of an “orphanage commune” than a restaurant.

Some of Freddie’s  loyal staff were archly referred to as “otherwise unemployable.” The Factory was a true original, appreciated for its eclectic décor, Bohemian clientele, affordable pasta fare, live entertainment, funky vibe and high-spirited staff. The place was furnished with items from Fred’s personal collection of Victoriana, random kitsch, architectural castoffs and paintings and sculpture done by friends. Musicians who played at the Old Spaghetti Factory Former site of Old Spaghetti Factory today. photo: Julie JAycox included Arlo Guthrie, the Congress of Wonders, Dino Valente, Ramblin’ Jack Elliot and Dan Hicks and His Hot Licks. The Factory survived until 1984, the year Freddie sold the business. The  memorabilia and furnishings of the Old Spaghetti Factory were offered through an onsite auction by Butterfield’s  the same year. From 1956 through 1984, the Old Spaghetti Factory was North Beach’s hub of artistic activity, opera, flamenco and cabaret, attracting artists and writers, neighbor- hood folks, Bohemians and Beats. (And, yes, a film has been made. Look for the next screening of “ The Old Spaghetti Factory” (2009) by filmmakers William Farley, Mal Sharpe and Sandra Sharpe.) It was designated San Francisco Landmark No. 127 in 1981 on the basis of its significance as a cultural and social center in North Beach. The landmark case report further stated that “the  Beatnik era was born in the district and its leaders very quickly  associated themselves  with the  Spaghetti Factory; Ferlinghetti and Ginsberg in poetry and Kerouac in prose.” Other notable individuals from the arts who have been associated with the Old Spaghetti Factory are photographer Jerry  Burchard, the Kingston Trio, flamenco dancer Cruz Luna, Richard Brautigan and Robin Williams, to name a few.

The Old Spaghetti Factory was also considered to be significant as a successful example of an adaptively reused building, converted from industrial use to a cafe, cabaret and restaurant. During the designation process, Landmarks Preservation Advisory Board member Jean Kortum said,“ There is hardly anyplace more indigenous to the culture of North Beach than a pasta factory.”


Interior of Old Spaghetti Factory, c. 1950s photo: courtesy sAn FrAncisco history room, sF public library

The photo was taken in the Spaghetti Factory Garden Where Stephanie’s etching was drawn – But at a time where people dressed a lot different than you see here… Beatniks and Hippies

SpaghettiFactory_clip_image004Old Spaghetti Factory courtyard, c. 1950s photo: courtesy

San Francisco history room, AF public library




Former site of Old Spaghetti Factory today.
photo: Julie JAycox