Thursday, August 25, 2016

Revealing The Creative Process


Wendell Castle Imagined
at
University Gallery
in the Vignelli Design Center
Rochester Institute of Technology
August 22 - November 11, 2016

Widely recognized as the father of the Art Furniture Movement, Wendell Castle is being celebrated with a late summer exhibition that has just been mounted in the University Gallery within the Vignelli Design Center on the campus of Rochester Institute of Technology.  This show is called "Wendell Castle Imagined", and its focus is on working drawings and models made in support of some of his signature pieces from recent years as well as a nod back to the 1960's and 1970's.



Wendell's 'Wolf'
at the University Gallery

I became aware of Wendell Castle's work early on because it bridged a gap between the Fine Arts, and Craft traditions, and boldly his works were making their way into museum collections and galleries.  Wendell's forms became part of my research when I was making my first sculptural "chair" as a student in a class at The Cooper Union.  I saw Wendell Castle's works in galleries in New York City, and later when I came to teach at R.I.T. he was one of the first people I was introduced to, and I am sure that he has made a lasting impression on his students in classes at R.I.T. where he was enlisted to teach from the early 1960's onward.  Back in the 1960's and 1970's the art furniture movement found its footing and patrons and we still feel the impact of that today, especially with this presentation.




"Suspended Belief"
working models by Wendell Castle

There is no doubt in my mind that these working drawings in the University gallery represent the work of a master.  The imagination and intense devotion to form is on view here in a very meaningful way.  You get to see how this artist thinks with pencil to paper.  What I know of Wendell's early works - are primarily forms of laminated wood with fluid shapes that contrast sharply with the rectilinear expectations that we have for wood work of the recent past ( think Bauhaus modernism ).  The art of Wendell Castle has had a cumulative effect, maybe as important as Frank Lloyd Wright was to architecture, or Brancusi in sculpture.  Wendell's work must have influenced other artists along the way like Tony Cragg and Martin Puryear, and these two artists in turn have contributed greatly to our cultural thinking.



Wendell Castle drawings in his new show
at R.I.T.

Seeing these drawings gives you insight to the working process, and how the forms are developed.  Many of the forms have an organic look, and needless to say they have a sensual aspect and reveal interesting silhouettes, certainly not what you would expect.  I really enjoyed seeing all the models and next to many of them are wire frame drawings that look like they are plotted by a computer.


Wendell Castle's 10 Adopted Rules

On a back wall in the gallery there is a big poster: Wendell Castle's "My 10 adopted rules of thumb".  This is great for R.I.T. students to read and understand ( If you hit the bullseye every time, the target is too near ).  These insights may have been passed on from generations of craft workers and they will still be relevant today in the arts.  In this show you will find that Wendell's pencil drawings are mostly modest in size but not in ambition, and I hope that this collection of working models and drawings finds a home where they can be seen by a wide audience.  

The reception will be held for the artist on Friday, September 9th from 5 pm to 7:30 pm.  Call the gallery for more information at 585 475-2866.

Tuesday, August 16, 2016

Symbolic Forms


Juan Carlos Caballero-Perez
at
The Geisel Gallery

in the former Bausch & Lomb Building
downtown Rochester, New York


The School for American Craft has been a part of Rochester Institute of Technology for many years and recently  Juan Carlos Caballero-Perez has provided leadership to this segment of the institution, and as well as being a Professor, he is also a professional - in the sense that he is actively making new sculpture - and you may have seen his large work outside Edibles on University Avenue.  I have seen that Carlos can work large and small, in fact there have been delicate works he has produced and sold as jewelry in the shop at The Memorial Art Gallery.  Now a recent group of his sculptures that he calls "Symbolic Forms" is creating a strong impression in the Geisel Gallery for the month of August.



Carlos' large scale art on University Avenue
Rochester, New York

The Geisel Gallery this month has a robust show of sculpture from Carlos, and I had a chance to talk with him about these works on exhibit.  I wanted to know how he made some of these pieces, they all seem to have been completed recently, does he have assistants who weld the pieces together? How does he manage to make the steel look like lace?



Juan Carlos Caballero-Perez
at
Geisel Gallery
this August

The parts of the sculpture that look like lace are cut with lasers from computer files that power tools that are extremely accurate.  If these are symbolic forms - what is it that they can be symbols of? 
Is this the circle of life?  I like the centralized openings in Carlos' works, and many of them depend on graceful curves that encompass this opening, and the sculptures seem to breathe and articulate his ideas about the spirit of the object.



Juan Carlos Caballero-Perez

The forms he chooses to work with are simple and evocative.  At the end of the gallery is a large standing work that has a figurative presence but still maintains its abstraction.  Many of the welded pieces in this show have a surface that is buffed in a certain way as to reveal what look like brush strokes.  We have seen this before in the art of David Smith.  Sometimes a work from Carlos can recall Smith, at other times I see an echo of the art of Brancusi or even the Russian artist Naum Gabo.  I only wished for a bit more space in this exhibition - maybe even a chance to see one of these works outdoors, and see how it interacts with daylight.

Here is the artist himself working at the bench, below.



Juan Carlos Caballlero-Perez

Saturday, August 13, 2016

Blue Ribbon


At Image City Photography Gallery
Announcing the Winner!
Giving the Blue Ribbon 
to
photographer,  Stephanie Albanese

Image City is a photographic gallery and it also happens to be the way that people identify the place that this gallery calls home: Rochester, New York.  Home of Kodak and Xerox and many other corporate tag lines, this town was built on the making of memorable images.  The engineering talent that made cameras, film and printers in and around Rochester is astonishing and there is a deep interest in finding beautiful photography that highlights all the technical wonders.  So with the advantage of all the inventions, chemistry, and electronic magic that is necessary to bring us modern photography, we still need the human eye, mind, and nervous system to know when to click the shutter and make the picture.

What constitutes a portfolio of photos that can win a Blue Ribbon?  Well, if you are one of the jurors who gets to select the photos, you will know a great portfolio when you see it.  What I was looking for ( as a juror ) was consistency in a series of eight photos from each photographer who submitted a portfolio.  I also look for something that resonates with me - some subject that engages my attention, and also photos with fine technical values as well as a strong point-of-view.



Stephanie Albanese
at
Image City Photography Gallery
in August

Howard LeVant and I sat down and compared notes after looking over eighty portfolios submitted for this exhibition opportunity.  Now, looking over the actual prints on the walls in the gallery on University Avenue, I feel very strongly that we picked some winners.  Stephanie Albanese took first prize, the Blue Ribbon, for unusual, nearly abstract images of a golden ball in a variety of settings.  While boiling the photos down to their essence - formal shapes, there are still textures to marvel at, and color to grab and hold your attention.



Photographer, Ed Stone
at
Image City

Each photo print in this show demonstrates something to the viewer that can be part of a much larger story presented by the artists who make the photos in the first place.  Ed Stone tells a story about a form of agriculture rarely seen outside of South East Asia - these are rice paddies and they form a mesmerizing topography that is also close to pure abstraction were it not for the houses and other evidence of the farmers who work the land.

I was surprised, when I reviewed the portfolios that there were so few images that deal directly with other humans.  Not many portraits of people or even action photos of friends dong wild and crazy things to get our attention.  We found sober, quiet situations of gradual decay in factories and deserted buildings in the works by Amanda Chatham and David Soderlund.



Photos by Alexandra Latypova
at Image City

Maybe most surprising to me were the still life photos of Alexandra Latypova who has studied paintings from Dutch masters and has re-created table top tableaux that so closely resemble this fine art of the past.  Her photos celebrate the intimate interactions of colors and textures found in paintings from the 1600's from artists like Pieter Claesz, and de Heem ( there is a beauty in the collection at The Memorial Art Gallery just down the street ).  The still life is set against a dark background and our attention is taken by Latypova's lighting effects which are purely anecdotal, they reveal and conceal at the same time.



Nancy Ridenour
at Image City

Sometimes lighting effects in the age of Photoshop can be overdone, and we saw portfolios that had a gimmick that in the aggregate was not a turn on.  Nancy Ridenour makes close up portraits of individual flowers taking the ideas expressed in Dutch painting once again, but giving her photos a modern powerful statement with natural color found in the dahlias and lotus flowers she likes to portray in her portfolio.  The only note that I was not sure about here was that the prints of her photos were made on canvas, and they begin to resemble paintings and not photographic prints ( but I am being picky ).

Boris Keller has a portfolio he calls "folktography".  The highlight of his work is folk art and it is reflected in the imagery he captures, whether it is an old truck filled with pumpkins, or a brace of geese in the farmyard.  Keller's photos are so sharp, and their colors are subtle, yet intense.  There really is an art to the production of these images.

For my eye, the elegant photos of wind mills from Steve Malloy Desormeaux are the most sensual, in that they are taken in the middle of winter and you can feel the snow, sense the cold temperature, almost see the wind, and as photo prints go - these images are all different degrees of white.  There is a defined landscape in this portfolio that looks familiar yet alien in the same frame.  I am captivated by his work, as I am with all the photos we selected for this show.  I hope you get to see it.  I know you will enjoy the stories being told on these walls.



Photo by Steve Levinson
Juror: Alan Singer with photos by Stephanie Albanese
at
Image City Photography Gallery
August, 2016

Saturday, August 6, 2016

Where Were You?


"9/11 Project, Reflections and Memories
Gallery r
100 College Avenue, Rochester
until August 21, 2016

If you are as old as I am ( 66 ), you will remember the day and what you were doing when you heard that John F. Kennedy was shot dead in Dallas, Texas.  But, if you are of a younger generation you may remember what was happening when you learned that jet airplanes ran into the World Trade Center towers in a terrorist plot just fifteen years ago.  All of those recollections come rushing back when you visit Gallery r this month.  What you will see on the walls of the gallery will no doubt bring back memories, and engender a lot of discussion.


Headlines from the collected newspapers
at 
Gallery r

The newspapers that deck the walls of Gallery r were collected by Eric Kunsman and his students after the horrific events of 9/11.  Eric was teaching a course that day in Applied Photography and was involved in a class discussion about how photography might help shape history- and this was when the crashes took place in lower Manhattan.  Eric asked his students to go and collect their hometown newspapers and bring them to class for a dialog.  Eric kept all these newspapers ( 121 of them ) and they are now on display along with some of the discussion that he recorded with his students.


"The Day America Cried"
at 
Gallery r

What were you doing when the planes hit?  I can recall that morning because I was teaching my class, and I happened to go out to the library where someone had rolled out a TV cart and the news was flashing about the events in New York City.  Needless to say, I was shocked, and I thought about what I should tell my students about what was happening - if they didn't know already.  The pictures of the smoking building is etched in my memory.



Eric Kunsman and his class collected headlines
at 
Gallery r

The newspaper headlines tell you a lot about the national mood, and everyone was stunned by the photos and the events that day would begin to change our international policy.  The country reacted by canceling all flights for days, all planes were grounded and the sky grew quiet.

You can read all about it on the walls of this exhibition which is a necessary one to remind us of those days, and it also gives you a perspective for what is going on today in places like Syria and Libya.  The role that photography plays in this case not only documents history, but also can shape how events play out in the public realm.



Art you can live with
paintings by Belinda Bryce
at Axom Gallery

Down the street in a much calmer milieu, I visited the Axom Gallery to see the kind of art you can feel at home with.  This art blends well with your decor, and the show on now features many artists you may already be familiar with including painters like Belinda Bryce ( above ) and Kurt Moyer.
I found works of interest by Isaac Payne and Matthew Langley ( his "Blue Veil" (see below).


Axom Gallery
Rochester, New York

Monday, July 25, 2016

The Dreaming


Ithaca, New York, July 24, 2016
via
stain glass window

From my top floor in Ithaca, we look out over a garden through to trees and other homes and businesses and I like to take a few photos through the stain glass window when I'm there.

We are having a little family re-union and then all of us go up to see the exhibition at the Herbert F. Johnson Museum of Art that features modern Australian Aboriginal art - which is a tradition now carried on with materials on canvas rather than sand painting, carving wood or applying colors to the body ( although these practices may continue today they are not included as examples in this show).  I have seen a few exhibitions of artwork from these Australians from time to time, and the artists included in this show called "No Boundaries" are considered to be the most creative and widely recognized for their art.


"No Boundaries" Aboriginal Australian Contemporary Painting
at
The Herbert Johnson Museum of Art
Cornell University

If you have never seen modern Aboriginal Art you are in for a treat, and it might be possible that you could mistake this art for paintings by an American Abstract Expressionist like Richard Pousette-Dart for example.  Looking over the balcony into the first floor of the show, one can see paintings on the wall and floor and they have stylistic similarities (lines and dots of paint are frequently applied ) and there is also an introductory video running at the museum that shows a painting session in progress amidst the scrubby land where the artists call home.  In the video you see a group engaged like a quilting bee - people sitting, talking, and painting on their canvases.  There is a market for this work and the art dealers that set them up with materials are eager to take the freshly finished paintings off to the next show and sale.


Mr. Tommy Mitchell, "Warlpapuka", 2009
Synthetic Polymer paint on canvas, 40" x 60"

The artists artwork might resemble the patterns on your finger tips when you make a finger-print, or the patterns could be paths found on a topographic map.  In fact there is a description on the wall in the museum that suggests the paintings might be a kind of map that would help lead one to food and water.  There is a hallucinogenic quality to these paintings, not necessarily because of their colors which are quite restrained by Western standards, but because of the pulse-like repetitions and wave patterns these artists prefer.


"Wiringurru Painting" by Tjumpo Tjapanangka


One of my favorite paintings from this show of Aboriginal Art had forms that looked like tendrils- the little leaders that grow from plants seemingly searching for light and nourishment.  This painting is made by the artist Boxer Milner Tjampitjin who gives it the title of "Oolaign", painted in 2000,(using synthetic polymer paints on canvas) his composition is a ladder of these tendril-like forms painted with a fresh application of little dots of color on a black ground.


"Oolaign"  by Boxer Milner Tjampitjin

If you read the catalog written for this exhibition the interpretation of what is being represented in this painting is definitely related to the forces of water, the way it can shape the land and effect the lives of the people living there.  Water is the source of life.


Paintings by Ngarra

Though the artists we see here work in a varied style that never becomes purely representational, the art is suggestive and one can make associations with the images as presented.  The artist known as Ngarra has a suite of paintings on paper that could be colorful diagrams of social interactions, or games people play.  Another one of the artists featured in this show, Mr. Tommy Mitchell, constructs more elaborate compositions using a wider array of colors, and these paintings can rival some of the best artwork done anywhere in the last century.  Self-taught painters- mostly instinctive painters, such as these artists really give you something to think about 
 when contemplating visual culture.



"Crossbow" by Matthew Schreiber


Around the corner from the Aboriginal Art is an installation of laser lights by the artist Matthew Schreiber which he calls "Crossbow".  Stepping inside a darkened room the laser lights resemble the strings of an instrument.  You interact with these lights if you move around the room.  There are people in the room with you but you will be concentrating on the red light lines drawn by this weightless material, and needless to say- it is a spectacle.


Japanese prints by Kuniyoshi

Also on view at the Herbert F. Johnson Museum is a collection of things Japanese, including prints, decorative arts, photos and calligraphy.  This is one of the attractions to the museum - it has a fine and varied collection of the arts of Asia, and a most enjoyable show to go and see, and savor.

Tuesday, July 19, 2016

I'll Take Manhattan


The Whitney Museum of 
American Art
99 Gansevoort Street
New York City, New York

Though I was born in Manhattan, I don't get to visit my city often since I moved my family upstate years ago, but when I am there I like to make the most of it.  

When I was a teenager I would walk everywhere in the city and I usually brought my camera.  I frequently decided to walk through the "Meat Packing" district which is way over on the west side along the Hudson River just above the West Village.  I would love to make photographs and contemplate the scene; there was a railroad trestle that snaked through buildings and freight trains would roll in and unload their contents into the giant refrigerated buildings in the area.  Trucks would come and distribute these goods all over the five boroughs and beyond.

Now many years later the texture of life has changed along this area in Manhattan.  The railroad trestle has been turned into the highly successful High Line which is a great attraction, and the new Whitney Museum of American art opened last year to much acclaim.  Their building by Renzo Piano
we would see in various stages of construction, but now we were parked a block away and we walked over to the new Whitney Museum for an in depth look.  The building is bulky like some of the container ships that make their way into the N.Y. Harbor, but when you get inside it is spacious and open and doesn't detract from the experience or distract you like the curvy Guggenheim.


Virginia Overton's water gardens
Fifth floor at the new Whitney Museum



The Whitney Museum presents a different profile from every vantage point outside and there are a series of balconies facing East where once you are in the museum and need a break, you can walk outside and sit and have a drink or just take in the skyline ( which has changed dramatically in the last few years ).  Over this summer a series of water gardens in metal tubs by Virginia Overton are on view.  She lets nature take its course and we get the benefit of seeing water lilies bloom on the fifth floor of the museum ( Monet would be jealous ).



Stuart Davis, oil on canvas, 1921

The main attraction for us at the new Whitney, is a show with the work of Stuart Davis called: "In Full Swing", and it did not let us down.  Stuart Davis went through a number of early stages not represented in this show which is dedicated to his mature style which one could claim is part cubist design and part hard-edged proto-pop art.  Stuart Davis paintings stand out in that they are also a kind of representational abstraction - symbols of an industrial culture with an inflection of jazz music in there for good measure.



"Swing Landscape" by Stuart Davis, 1938

The Whitney Museum presents a spacious selection of Stuart Davis's most commanding art including large scale mural works sponsored in part by the WPA ( Workers Progress Administration ) which put artists to work during tough economic times.  I wondered whether Davis's left leaning politics got in the way of his success after these mural commissions came to an end.


"The Mello Pad" by Stuart Davis

"In Full Swing" starts off with semi-cubist works incorporating graphic designs of cigarette packages and detergent, and this theme of packaging re-surfaces later on in his career when he received an assignment from Fortune Magazine to create paintings about the packaging of goods that we take for granted in advertisements everywhere.


Rapt at the new Whitney
with 
Stuart Davis

Elsewhere in the museum they are presenting a collection of portraits from their archive, and this is a sprawling group show which reminds me that figurative art is in the ascendant today.  I stopped to look at Edward Hopper's portrait, Robert Bechtle, and Fairfield Porter's work to name just a few of the items in this selection.  Something that stood out for me was the Rochester-born artist Florine Stettheimer and her carved wood frame and upbeat color that looked so tropical.  This is an unusual artist that deserves more attention.



Florine Stettheimer, Sun, 1931

I should also stop to say that the inside of the new Whitney Museum is an open layout, the wood floors are attractive, and the lighting is sufficient.  I found nice surprises at the museum but the day was so beautiful we decided to go for a walk on the High Line downstairs.



Walk along the High Line

Today, the trains are gone, but in some places the train tracks remain, and if you have yet to walk along this elevated park - you owe yourself this great pleasure.  It is a way to see New York City that you just haven't done before, and on this glorious sunny afternoon it was a pure pleasure.  Along the route there are little cafes, and even a water feature to cool your feet. I can't say enough about how I enjoyed this jaunt to my old home town.

Monday, July 4, 2016

A Print Collector and the Hokes Archive





Beauvais Lyons, lithograph, "Female North American
Raccoon Crow"

"Conceivably Plausible"
a two person show featuring
Beauvais Lyons and Jennifer Scheuer
at 
The Ink Shop
330 East State Street at the CSMA Building
Ithaca, New York

I'm back in Ithaca, New York, where one can go around on Gallery Night, on a Friday in July, and see a wonderful exhibition that just opened at The Ink Shop at 330 East State Street in the CSMA Building on the second floor.  The gallery show is a two-person affair with artists Beauvais Lyons from the University of Tennessee and Jennifer Scheuer from Cornell University.  If you are not familiar with either artist, this is an opportunity to get to know two very creative printmakers, whose artwork looks to history and science with a sly glint in their eye.


Beauvais Lyons, lithograph, "Fresco Fragments Depicting
Aazzudian Ball Players"


If you have read my blog before, you may know that for many years I made my living as an artist and illustrator - making representations of natural subjects for publishers of books and magazines ( The Total Book of Houseplants, Horticulture Magazine, Birds Do The Strangest Things, etc. ).  So, when I opened the door to their new show at The Ink Shop - I was surprised to see prints of flowers and animals that had a real historical look without actually being very old.  As for Beauvais Lyons - his images are part of a deliberate deception to get you to think and look a little bit deeper.

His take on his artistic subject is a sort of parody of what I used to make my living doing, but his effort to make something "Conceivably Plausible" has a bit of magic ( sleight of hand ) along with some fun, and this gives him a rich vein to work in especially with his use of lithography - heavily based in a realist drawing style.  Jennifer Scheuer works in Ithaca at her images ( she is an Ink Shop member, and Cornell University employee ) and her prints look like plates from the old books one could collect ( I would have loved to buy her fern image at the entrance to her part of the show but it was not for sale ).  Jennifer studied with Beauvais Lyons so they seem to be on the same page when it comes to the studied quality of their image making.


An image from the Association for Creative Zoology

The thing about humor in fine art - if I can backtrack a bit here - is that a laugh can put you in a good mood, or it can detract from what the serious artist has to say.  See the contradiction? - serious artist - funny artwork, and the viewer can get swept up in the joke and loose the perception of how the artist brings you to this point.

I can see the temptation in Beauvais Lyons' work, as I said - having worked on the natural subjects myself, I always felt the need for some humor to give the academic stress of zoology a more human perspective.  It should be said, that when you are at the show, and see the lithograph of the adult Raccoon Crow above at the top of this blog, it only takes a second to see how absurd the image is.  There is a tradition of farce in the theatre, but not so much in the fine arts of painting and sculpture.  I guess that in modernist terms the art object is what it is, and what I see here is an art that is trying to reduce academic constraints but in the process becoming just as academic in the parody.

There is another question lurking here, and it is at what point is this art a pure illustration and does that matter?  Over the recent history of contemporary art, maybe there is less open hostility to illustration as an art than there was say forty or fifty years ago.  Maybe  it is a distinction without a difference, and art is art, you know it when you see it.



Jennifer Scheuer

Getting back to the show at The Ink Shop, Jennifer Scheuer is also experimenting with 3D printing ( there are two rows of what look like teeth in the first room ) and she also works with older techniques like photogravure.  In a series of sepia toned monotypes we get some fine small images of ginseng roots, which are treasured for the medicinal values.  When I saw them I thought that Jennifer should meet Jappie King Black ( who I reviewed a couple of weeks back ) and the two of them would have something in common - especially because of Ms. Black's root like sculptures she has on display at The Dyer Art Center.  Jennifer is a bit more direct in her art than Beauvais Lyons, and she gives her art a look from the past that I hope doesn't distract from the art she has made.


Jennifer Scheuer, trace monotype

With  the previous discussion aside, the art in this show is considerable, and it highlights the aims and goals of these working artists today.  To give your art a deliberate archaic look - does that help in attracting an audience for what you want to say?  It might, and maybe it also brings up the question of what the viewer expects from an art show these days.  One can expect to be challenged in the best sense, and also not to be bored in the worst case.  Ideally a great art show leaves the viewer with a distinct impression and these two printmakers certainly do that.



Beauvais Lyons on left, Jennifer Schemer,  on right
at
The Ink Shop 
to
July 28th, 2016
Ithaca , New York