Thursday, September 20, 2018

Her nexus revisited...and then some


Her nexus revisited…and then some

By Tom Wachunas

“Originality is nothing but judicious imitation…” – Voltaire

   EXHIBIT:   Mixed Media Paintings By TINA MYERS . THROUGH OCTOBER 19, 2018 at The Malone Art Gallery (MAG) - inside the east entrance of the Johnson Center, located on Malone's campus at 2600 Cleveland Ave, N.W., in Canton, Ohio /  Gallery hours are Monday – Friday, 11 a.m. to 6 p.m., or by appointment. /
Sunset Gathering

November Sunset

Heads Together

Hectic

42nd Street

NV (top) / Greeter

MEET THE ARTIST RECEPTION: FRIDAY, SEPTEMBER 28, 6-7:30 P.M.
 
                                                         ARTIST STATEMENT
“Making time for art and creative expression has always been an essential part of my well-being. I find that many colors, shapes, and textures are soothing or fascinating to me, and I am thrilled when those elements work together to form something pleasing to the eye. I enjoy the freedom and sense of adventure that abstract art offers, and I generally like to create without a lot of conscious intention. Each piece will usually morph several times, as I test my own ability to create form and space. I love to see how spectators experience and interpret my finished work, and am especially impressed when a piece prompts someone’s imagination or speaks to them in a way I never would have considered or planned.”

   Déjà vu all over again? Yes and no. I’ve commented in a positive way on the work of prolific painter Tina Meyers more than a few times here over the past several years, and her current exhibit at MAG does nothing to diminish my favorable disposition towards her work. That said, this show does in fact bring up a few thoughts and questions about the overall direction of her aesthetic. In presenting them, though, I think it could first be useful – necessary, actually - for to you to read (or re-read as the case may be) my review of her 2016 solo exhibit at The Little Art Gallery. This way, I’m hoping you’ll appreciate what I consider to be foundational in assessing Meyer’s work. Your mission, should you decide to accept it (surely not an impossible one) is to click on this the link to the 2016 review:

   What I wrote in 2016 remains appropriate and relevant to what is now on view at Malone. This isn’t in itself a bad thing, though it might suggest that in the last two years, Meyers has remained steadfast in her pictorial comfort zones. Again, this certainly isn’t a bad thing. Still, I don’t think I’m alone in wondering about painters who appear to have settled into a routine formula for replicating predictable variations on the same themes. After all, if it ain’t busted, why fix it, right? This is the sense I initially had here when viewing her portraits and cityscapes – more of those quirky riffs on Cubist and Expressionist modalities. Robust as they are, it seemed to me that she’s continuing to simply operate comfortably in her long-established signature style.

   Maybe it’s my personal journey as an artist that’s really at the core of these considerations, having recently navigated a daunting crossroads in my own work, prompted by a nagging desire to venture beyond the material niche I had created for myself. Making art had become a repetitious mechanical task, a set of all-too-familiar procedures. Each new piece was becoming essentially an imitation of the previous one -  a rote packaging of the same ideas, over and over again. I had boxed myself in and it was time to find a way out. But I digress. Back to Tina Meyers.

   It was only after a more intentional, concentrated look at her 32 pieces in this exhibit that I noticed an evolution of sorts, beginning with one of the largest acrylic paintings, “Sunset Gathering.”  It’s a delightfully festive, even frantic work with a strongly tactile incorporation of various collage materials. Similarly, it’s the collaged textures in “42nd Street” that provide a jocular if not surreal spirit to a cityscape traversed by pedestrians who look like they’re visitors from a classic Saul Steinberg cartoon.

   Additionally, there are nine paintings executed on small corrugated cardboard cartons, among those “NV” and “Greeter,” both incorporating paper and cardboard collage elements. The charged surfaces of these works, protruding from the wall somewhat like relief sculptures, bring a refreshingly playful dynamic to Meyers’ oeuvre.  

   While there’s no telling yet how far she might pursue the possibilities of such expanded dimensionality, here’s to her aesthetic thinking outside the box.

Friday, September 14, 2018

A Curious and Bounteous Harvest


"Father Neophytes, Sinai" by Micha Bar-Am


"After Micha Bar-Am" by Marti Jones Dixon

"The Wooden Shoemaker" by Brenda James

"Elevated" by Heather Bullach

"Kaiyukan Aquarium" by Len Jenshel

"The Emperor" by Bobby Rosenstock

From Waterline Portfolio, by Arno Rafael

"The Dichotomy of Creativity" by Erin Mulligan

Untitled, by Myron Davis

"Immersion" by Michele Waalkes

"Man Handing Chair Into Woman..." by Robert Doisneau

Untitled by Ashley Mary

"Audrey Hepburn, Wedding Day, 1954" by Ernst Haas

"Vestal Virgin" by Patricia Zinsmeister Parker
A Curious and Bounteous Harvest

By Tom Wachunas

   “Imagination is everything. It is the preview of life's coming attractions.” ― Albert Einstein

   “Creativity requires the courage to let go of certainties.” ― Erich Fromm

   EXHIBIT:  Double Exposure, THROUGH OCT. 27, 2018, at The Joseph Saxton Gallery of Photography, 520 Cleveland Ave. NW, in downtown Canton / Gallery hours are noon to 5 p.m. Tuesday through Saturday.

Curated by Craig Joseph / Participating artists are: Tim Eakin, Kevin Anderson, Michele Waalkes, Margene May, Maria Hadjian, Beth Nash, Matthew Doubek, Annette Yoho Feltes, Erin Sweeney, Clare Murray Adams, Tim Carmany, Steve Ehret, Hugo Nadelbaum, Ashley Mary, Patricia Zinsmeister Parker, Bobby Rosenstock, Jesse Ewing, Kari Halker-Saathoff, Scot Phillips, Tom Wachunas, Marcy Axelband, Heather Bullach, Erin Mulligan, Sally Priscilla Lytle, Tina Myers, Kat Francis, Rich Pellegrino, Marti Jones Dixon, Jessica Bennett, and Christopher Triner.

   Curator Craig Joseph assigned each of the 30 artists in this exhibit a rarely or never before exhibited photograph from the Saxton Gallery archives. He then asked simply that they respond to the photograph by making a work of art in a medium of their own choosing. There were no other restrictions. In assessing the outcome, he tells us in his statement for the show, “…Some of them have re-created; some have gone in a totally different direction. Some have devised narratives; some have abstracted the source. But all of them have started a dialogue that we hope you’ll be a part of.”

   All representational photographs (i.e., pictorial likenesses to actual persons, places, events, or things) are, by their very nature, contrived compressions, or extreme distillations, of three-dimensional “realities” on to a two-dimensional picture plane. Even at their most mimetic or illusory, photographs are in that sense essentially abstractions. So it’s fair to say that each invited artist here has constructed an abstraction of an abstraction, either physically, conceptually, or both. Think of Craig Joseph’s curatorial invitation as you would a sower casting seeds across a fertile field – artists’ minds. The seeds grow, nurtured by that enigmatic, metaphysical phenomenon we call creativity - a quickening of memory, intuition, and inspiration. So this exhibit is a reaping that yields a veritable cornucopia of formal genres and styles - a lavish feast to sate all manner of aesthetic appetites. 

   Most interesting to me is is how, for the most part, the pieces made for this show don’t depend solely upon their photographic prompts to be interpreted or appreciated as discrete, engaging works of art in their own right.  

   Some of them are compositionally faithful to their photographic sources while enhancing or emphasizing a particular emotional or psychological perspective. Marti Jones Dixon’s painterly “After Micha Bar-Am,” for example, significantly intensifies the spiritual drama of Micha Bar-Am’s black and white portrait, “Father Neophytes, Sinai.” 

   Other works have extracted and expanded upon a specific visual component of the photograph, such as in Heather Bullach’s “Elevated,” a hyper-realistic oil painting of a haute couture high heel shoe. It’s a slick, sleek and spectacular divergence from the photograph by Brenda James, “The Wooden Shoemaker.”  And in a delightful take on a photograph by Len Jenshel called “Kaiyukan Aquarium,” Bobby Rosenstock’s tantalizing color woodcut, “The Emperor,” focuses on a single penguin.

   The connections between call and response in this context can range widely between edgy whimsicality - as in Kevin Anderson’s wonderfully giggle-inducing interactive sculpture “Some Rules Are Meant To Be Broken…” -  and the tenuous if not arcane. In that regard, the photo by Arno Rafael Minkinnen, “From Waterline Portfolio,” is strange and dream-like enough on its own terms. Perhaps not surprisingly, Erin Mulligan’s “The Dichotomy of Creativity,” an oil painting rendered in her signature fantastical/surreal style, is stranger still, but certainly no less intriguing.

   Maybe you could call Michele Waalkes’ “Immersion” an example of Romantic Minimalism. It’s a highly reductive sculpture in translucent blue resin forms that suggest the ocean waves you see in the untitled Myron Davis photo of a couple kissing in the surf.  Reductive, too, is the untitled acrylic abstract painting by Ashley Mary, in response to Robert Doisneau’s black and white “Man Handing Chair Into Woman In Newstand.” Yet for all of the painting’s smallness of scale, those electrifying colors exude an uncanny largeness. 

    Patricia Zinsmeister Parker’s mixed media painting, “Vestal Virgin,” morphs the sophisticated, elegant film star, Audrey Hepburn - seen in the Ernst Haas photo, “Audrey Hepburn, Wedding Day, 1954” -  into a visceral, even lurid likeness of someone far less refined. Oh, the impudence! I could almost hear Parker’s lippy dame intoning, “The rine in spine falls minely in the pline.” Sassy.

Monday, September 3, 2018

Digging Through, Seeing In






Digging Through, Seeing In

By Tom Wachunas

   “I feel a strong parallel between the making of a painting and the building of a wall, or a structure, an edifice. Each involves construction and deconstruction, and provides refuge, a haven. In the case of my interest in religious architecture, there is the element of sanctuary and sacred geometry.”  - Carol Diamond

   “What does the artist do? He draws connections. He ties the invisible threads between things. He dives into history, be it the history of mankind, the geological history of the Earth or the beginning and end of the manifest cosmos.”  – Anselm Kiefer

   EXHIBIT: Kent State University at Stark is pleased to begin the 2018-19 exhibition season in our new gallery space – The Lemmon Gallery -  with a solo exhibit, Threshold: Selected Works by Carol Diamond /  on view through September 21st, 2018. A reception will be held on Tuesday, September 11th, from 3:30-5:00pm. Located inside the Kent Stark Fine Arts Building, 6000 Frank Avenue, North Canton, Ohio / Contact: Professor Jack McWhorter, jmcwhort@kent.edu / Office: 330 244-3356


[Excerpt from the Kent State University at Stark announcement: Originally from Cleveland, Diamond received a BFA in painting from Cornell University and continued her studies at the New York Studio School in Manhattan. Settling in Brooklyn in the late 1980’s, Diamond became active in the vibrant Williamsburg-Bushwick art scene. She continues to exhibit in group and solo shows in New York City, Upstate New York and nationally... Since 2000 Diamond has taught at Pratt Institute in Brooklyn where she is an Associate Professor.]

   There are several methodologies or modalities present in this impressive collection of works spanning (I’m guessing) at least several years: Large-scale abstract paintings, mixed media works on paper, relief collages, plein-air drawings of architectural sites, and sculptural assemblages of found debris.

    Radiating from most of this formal diversity is an aura of vintage Modernism. It’s a visceral kind of tenor - alternately gritty and refined, delicately ornamental and muscular, literal and symbolic - which binds all these works together into a collective embodiment of a distinctly urban sensibility. These are fascinating explorations of facades, spaces, structures, and metropolitan detritus, comprising something the artist knows intimately - something you could call big city zeitgeist.

   Some of Carol Diamond’s most compelling pieces, such as “Fences” (digital photo, pastel and charcoal) and “Abonica” (oil on canvas) are complex integrations of bold lines and color rhythms with textures (illusory and actual) and shapes (both organic and geometric) configured in multiple perspectives, converging and dispersing in various spatial vectors. There’s a sense of suspended kinesis, as if these elements are simultaneously being disrupted, worn away or broken down, and then reconstituted. The low-relief elements of real concrete and a bit of metal trash in “Factory” bring to mind an interesting question: What thriving city isn’t indeed a factory in the perpetual business of making, or unmaking, itself? What gets built, what gets thrown away?

   The tactile materiality of Diamond’s many small mixed media collages on wood panels, her found-object sculptures (grouped on three pedestals), and the fossilized look of her plaster mosaic plaques, all suggest the contemplative notion of artist as archaeologist, unearthing and preserving industrial artifacts and/or seemingly whimsical shards of city bric-a-brac. But these aren’t so much a display of a specific, ancient history. Think of them perhaps as personal, poetic remembrances of a metropolitan now.  

   It’s a poeticism that infuses the entire exhibit with tangible spirituality, particularly evident in two drawings - her crayon and pastel “Fire Escape,” and her graphite drawing, “125th Street Arches.”  Both drawings exude real reverence for traditional linear perspective while at the same time transforming otherwise common structures into something soaring and cathedral-like. Static form becomes a fibrous matrix, a gossamer network of conjoined lines and shadows, seeming to breathe as a single organic entity. Architecture with a pulse.

   At its most cryptic or dense, Diamond’s imagery certainly can present the city as a complex, intricate space, to be sure. That said, her city is not depicted as a dark, menacing bastion of sociological chaos or mind-numbing worldly excess. Her artist statement (click on her web site link above)  is a useful inroad to appreciating her aesthetic, wherein she refers to her interest in “sanctuary and sacred geometry,” and further: “…A synthesis of layered meanings and connections is occurring, including metaphors of introspection and the relationship between the conscious and the unconscious mind.”

   Here metropolis is an engaging metaphor for meditation, and urban architecture becomes an intriguingly ruminative redoubt.

   PHOTOS, from top: Abonica / Fences / Factory / Fire Escape / 125th Street Arches

Wednesday, August 29, 2018

Respecting the Art


Respecting the Art





By Tom Wachunas

   First, consider the following statement from Robert Smithson, a highly seminal influence in the proliferation of, among other 1970s art forms, Earthworks. Here’s the beginning of his 1972 essay, “Cultural Confinement,” originally published in Artforum magazine:

   “Cultural confinement takes place when a curator imposes his own limits on an art exhibition, rather than asking an artist to set his limits. Artists are expected to fit into fraudulent categories. Some artists imagine they've got a hold on this apparatus, which in fact has got a hold of them. As a result, they end up supporting a cultural prison that is out of their control. Artists themselves are not confined, but their output is. Museums, like asylums and jails, have wards and cells- in other words, neutral rooms called "galleries." A work of art when placed in a gallery loses its charge, and becomes a portable object or surface disengaged from the outside world. A vacant white room with lights is still a submission to the neutral. Works of art seen in such spaces seem to be going through a kind of esthetic convalescence. They are looked upon as so many inanimate invalids, waiting for critics to pronounce them curable or incurable. The function of the warden-curator is to separate art from the rest of society. Next comes integration. Once the work of art is totally neutralized, ineffective, abstracted, safe, and politically lobotomized it is ready to be consumed by society. All is reduced to visual fodder and transportable merchandise. Innovations are allowed only if they support this kind of confinement.”

    On one level, Smithson’s fraught words read like a manifesto sounding the potential death knell of a long-standing exhibition system, woefully declaring the impotence of white-walled art galleries. He paints a picture, as it were, of artists as powerless victims, indeed prisoners, of a stifling paradigm that in turn renders their art powerless, “…reduced to visual fodder and transportable merchandise.”  I sense also a veiled insult to the viewing public, as if we’re merely a herd of unscrupulous shoppers, incapable of discerning relevance and meaning in the art we encounter in a gallery.

   Say what you will about the state of contemporary art in a blatantly consumerist culture such as ours, the fortunate fact of the matter is that real art galleries are still very much with us…just not so much in the general Canton area. With the exception of The Canton Museum of Art, The Little Art Gallery in North Canton, along with Ikon Images Gallery and The Joseph Saxton Gallery of Photography in downtown Canton, the venues regularly promoted as displaying visual art in Canton’s so-called arts district aren’t actual, dedicated galleries at all. For the most part they’re retail stores wherein an honest experience of art can be all but completely smothered by the frenetic clutter of diversionary commodities and entertainments surrounding it. I’ve always preferred undistracted encounters with genuinely engaging artworks, in a clean setting designed solely for that purpose. If that sounds too much like cultural snobbery, so be it. 

   In any case, I’m elated to tell you of the recently opened William J. and Pearl F. Lemmon Visiting Artist Gallery, located in the Fine Arts Building on the Kent State University at Stark campus. Whew. That’s a mouthful. Henceforth in future ARTWACH posts, I’ll be referring to the space simply as The Lemmon Gallery.

   Thanks to the thoughtful design specifications by Jack McWhorter, Associate Professor of Painting and Coordinator of the Kent Stark Art Department, here is a new, pure space, stunning in its simplicity, its airiness, its pristine and elegant neutrality. It’s a superb example of what a true art gallery should be and, Mr. Smithson’s perceptions notwithstanding, certainly not where exhibited works would lose their charge or become ineffective.

  On the contrary, this is precisely where viewers can and should disengage from the corruptions and distractions of their outside world long enough to really see and savor the art on its own terms. Welcome, then, to a place where art is presented not as incidental visual fodder but rather a wholly satisfying feast for the eyes and mind. 

   The art visible in the photos above is that of visiting artist Carol Diamond, on view through September 21. Gallery viewing hours are Monday – Friday, 12:00 to 5:00 p.m. Look for my review of the exhibit here in a few days.