About fifty of the artist’s works in ceramics and on paper from the Musée Picasso in Antibes, France, are exhibited for the first time outside of Europe. Might be wise to purchase advance tickets for this one.
The work of African-American artist, writer, and composer is featured in this important exhibition at the Cincinnati Art Museum. One of America’s greatest collagists, this exhibition features thirty collages from Bearden’s Profile Series, which is both autobiographical and also addresses the scope of the African-American experience in this country.
Bert Hurley (American, 1898–1955), Loose Nuts: A Rapsody in Brown, 1933. Pen and black ink, brush and black ink, crayon, watercolor, and graphite on wove paper.
Louisville artist Bert Hurley was know almost exclusively within the African-American community. He was known in Louisville’s West End as a talented visual artist and musician. Much of his work has been lost but this exhibition features a handwritten and illustrated novella which takes place in the vibrant West End of the 1930’s.
Every two years as October sweeps the Ohio River Valley with hues of yellows, reds, oranges and browns, the Cincinnati Art Museum springs to life with a vibrant array of floral arrangements in conjunction with a variety of works from its permanent collection.Since 2001, Art in Bloom has been inviting virtuosic, imaginative floral designers and arrangers to participate in their biannual event depicting the “marriage of floral interpretation and fine art.”
The intricately balanced floral composition for The Sacred Hour is a superb example of this union. The intensity of the blue delphinium, the red berries and carnations, and the varying shades of green of the fugi mums, kale and thistle traverses effortlessly from the canvas to the pedestal. The ruscus leaves rhythmically intertwine the white lattice (intimating the painting’s frame) anchored in an oval vase that harmonizes with the blue fabric of the women’s dresses.
The sacred moment for the viewer is a miniature garden of earthly delight. And in the hands of such a skilled matchmaker, this “marriage of floral interpretation and fine art” has been elegantly consummated.
The Sacred Hour – Ferdinand Hodler | Arranger: Jackie Chesher
Now, for a point of total contrast, let us contemplate this 1880s bed and its connubial floral representation. The plastic arts (functional or otherwise) were also included on the roster of museum pieces from which the participants could choose, but the interpretation of three-dimensional works in a floral arrangement presents a special challenge because of the particular attention that must be given to form.
Bedstead – Ben Pitman,Designer; Adelaide Pitman, Carver; Elizabeth Nourse, Painter | Arranger: Beverly Mussari
Bedstead demonstrates jaw-dropping ingenuity in this regard. The metal container on which the tightly-clustered, copper-colored arrangement rests with a black gauze-like fabric draped over it and falling to each side strongly suggests the arches, the carvings, and the panels in the headboard.What impressed me most is that the arranger lightened the weightiness of the bed by softening the bedding of the container with a looser spread of foliage. A challenge well met.
Simpler, effective, yet no less challenging is Arch, acrylic with fabric dyes on canvas.Form is obviously tantamount for a successful matrimony between these two pieces but, as with any marriage, it takes more than one thing to make it work.
Arch – Sam Gilliam | Arranger: Wren Hanson
First, there is the tent-like structure emulated by the openly framed bamboo pyramid that encases the flowers. Then the tinted colors of the fabric are deftly repeated in a small bowl that replicates the texture and the visual feel of the cloth it represents.Finally, the fairly sparse and spacious arrangement, if you take a closer look, is an inversion of the shape hanging on the wall. This unique interpretation demonstrates a counterpoised blend of conscious thought and intuition that go beyond the obvious.
Many of the designers (70 in this year’s event) tended to migrate toward the museum’s traditional European collection for their inspiration such as The Liberation of St. Peter.This Ikebana presentation was perfect for articulating the mannerist style of the painting and the dramatic single source of light that emphasizes line and motion of the two figures.And in this instance, the subject matter is equally important.
The Liberation of St. Peter – Abraham Bloemaert | Arranger: Koukichi Uchiyama
When I spoke with floral designer Koukichi Uchiyama, he explained that for him there was only one way to communicate both the visual and narrative aspect of the painting—through abstract expression.The lilies and the baby’s breath represent the angel and her ethereal nature with one of the buds actually pointing in the direction of the angel’s finger. The s-curved mums, on the other hand, represent St. Peter’s earthbound imprisonment in cuffs and chains further symbolized by the three steel rings placed in the mums.Uchiyama commented that the foremost ring, which has fallen forward, is indicative of St. Peter’s ultimate deliverance. And his use of s-curved strips of mizuhiki rice paper masterfully bridges the gap between the physical and celestial worlds.The result is a fascinating Eastern take on a Western work of art.
Always popular with museum goers are the romantic/impressionist landscapes and seascapes sacrosanct to any sizable permanent collection. And two interpretations in particular caught my eye for very different reasons.
The presentation for Valley Marsh is a suggestion and a statement arranged via simple and calculated placement of pepper bush and pepper grass, lily and lily grass, goldenrod and aster—plants that could be indigenous to the blustery, windswept marsh portrayed in the painting.
Valley Marsh – Nacisse Virgile Diaz de la Pena | Arranger: Beth Bowers-Klaine
The arrangement manifests as an interpolation, an extraction of the landscape we see beside it. It is also an interjection because it only partially occupies the basin in which it sits. The basin, too, is a strong unifying component because its color and texture direct the eye to the frame of the painting and visible patches of earth within. The fact that the arrangement is placed off center and to the left makes the basin look a bit like a fountain begging for water much like the landscape to which it belongs.
In a slightly different vein, one of the goals of the impressionist school is to capture the “fleeting moment” and so is the intent of the beautifully integrated flowers and foliage in the spray that interprets Sunset, Vevey, Switzerland. Accentuated with roses, it offers up “soft pastels, warm apricot and taupe against a charcoal gray shoreline allowing viewers to be immersed in a specific moment in time.”But it goes beyond even that.
The elements of this display (space, color, texture, and design) are so thoroughly aligned with the elements of the scene it depicts that it could easily be lifted from the pedestal, plopped into the painting and be totally absorbed—to the farthest reach of the imagination, molecularly conjoined—the two become one.
Far from conjecture, some of the more literal interpretations interspersed throughout the museum seem to take a greater degree of risk.For an arranger to include an object that is actually in a painting seemed to me a little like fudging but how well this strategy works depends on how well the object translates from the painting to the arrangement and the arranger’s intent.
Without actually including the object in the astounding arrangement, Vanity Case, the designers instead literally interpret the essence of a peacock etched on the front of the object itself.
Vanity Case – Tiffany & Co. Gifted by Gates T. and Margaret K. Richards | Arrangers: Susie McCormick, Tori Armongero, Kelly Cengia, Jana Monzel, and Gina Velleca
This small, exquisite Tiffany vanity case sitting under protective glass to the left of the arrangement enabled flocks of viewers to examine it before they walked around the peacock in a curious state of disbelief.Because feathers are not permitted in any of the floral designs, the team had to rely solely on nature and a remarkable vase to conjure up the likeness of this fantastic bird. Their use of White Orchids, Blue Born Orchids, and Bells of Ireland combined with Agonis and Egyptian Papyrus allowed them to create what is, in its own right, a work of fine art, albeit an impermanent one.
I would be remiss to not comment on at least one interpretation of an abstract painting and RomanianBlouse seems to fit the bill. While some entrants for Art in Bloom may steer clear of abstract art for fear of not understanding it or misinterpreting its meaning (if it has one), others are drawn to it because of the latitude it provides for full and open expression in relation to the basic elements of art and design associated with it.
Romanian Blouse – Henri Matisse | Arrangers: Priscilla Dunn and Nan Witten
Lines, shapes, patterns, positive and negative space, and blotches of color have an equal impact on this interpretive arrangement for Romanian Blouse. Although some of the colors have been substituted, such as yellow for gold and lavender for gray, others such as the whites, reds and greens make the necessary connections for us. The overall movement and feel of the painting is well conveyed—cheerful and contemplative.Sometimes it is enough for us to say, “It works!”
Because “the marriage of floral interpretation and fine art” is at the heart of ArtinBloom, it is impossible to not become engaged when you see one of these exhibits. Interpretation is catching.For starters, you have the arrangers interpreting the artwork and then you yourself reactively interpret the interpretation in front of you based on how well you think it executes the ideas expressed in the arrangers’ statements of intent and the plant material they chose to use. You also get to cast a vote for the top three on your list in order of preference, the same manner in which the arrangers get to select the work of art they interpret.
During the Art in Bloom four-day event, the museum invites two or three artists to come in each day and set up their easels and paint their interpretation of the arrangements, fostering a cycle of creativity and interaction with the artwork and floral designs for the duration of the exhibit.
So keep in mind that you as a visitor in October 2019 can also become a part of this cycle and be united with the wonderful world of fine art and its marriage to floral interpretation. And admission for the last three days of the exhibit is always free.
Exhibition of luminous, inventive era of Lexington Camera Club
Reveals a daring, supportive, experimental group of photographers
Works by Meatyard, May, Mendes, Baker Hall, Merton, and other lesser known members
Curated thematically by Brian Sholis
At Cincinnati Art Museum thru December
During its heyday, the Lexington Camera Club was one of the more experimental groups of photographers outside of art hubs like New York or Chicago. What’s more, the club’s members—comprised of opticians, lawyers, and writers—differentiated themselves from their counterparts in bigger cities by allowing the idiosyncrasies of their environment to inspire their photographic explorations.
Club mentors Van Deren Coke and Ralph Eugene Meatyard encouraged their peers to employ multiple exposures, out-of-focus techniques, and compositions that deliberately made use of the play between light and shadows when making photographs. The resulting images often incorporate aspects of life in Kentucky: family, nature, and daily life are recurring themes within the club’s work.
The distinctions of the Lexington Camera Club are the subjects of Kentucky Renaissance: The Lexington Camera Club and Its Community, 1954-1974 currently on view at the Cincinnati Art Museum. The exhibition is a testament to the club’s profound dedication to expanding the definition of photographic output, often through publications and partnerships as well as the photographs themselves. In the exhibition, works by Meatyard and Coke are presented alongside images made by Zygmunt S. Gierlach, James Baker Hall, Robert C. May, Guy Mendes, Thomas Merton, Cranston Ritchie, and Charles Traub.
Rarely in the museum’s gallery are any one photographer’s works presented alone. Indeed, Curator of Photography Brian Sholis carefully constructed pairs and groups of photographs by multiple club members to help inform visitors the extent to which the club’s activities were collaborative. It is Sholis’ curatorial decision-making that effectively illustrates the interrelationships between club members, their geographical surroundings, and modernist photographic trends.
Kentucky Renaissance, Installation view at entrance, photographed by Rachel Ellison
Kentucky Renaissance contains three primary themes: People, Place, and Experimentation. The Lexington Camera Club had many well-known figures among its members, yet individual achievement is hardly ever the focus of this comprehensive exhibition. Sholis emphasizes the club’s collectivism by erecting a wall at the gallery’s entrance featuring a salon-style presentation of photographs by all included artists, albeit without accompanying image labels. Here, visual connections are forged between similar uses of composition, content, and style.
James Baker Hall, Gene and Michael, ca. 1972, gelatin silver print, 8 1/4 x 12 1/2 in. (21 x 31.8 cm), Courtesy of James Baker Hall Archive
Walking behind the introductory wall will deposit visitors into the first of the gallery’s three thematic enclaves, which fixates on People. Sholis makes clear the affinity each club member reserved for their colleagues: some photographs—such as Hall’s Gene and Michael (c. 1972), which offers an intimate moment between Meatyard and Hall’s son—allude to familial relationships shared between club members.
Robert C. May, Chris Meatyard, 1973, gelatin silver print, 7 x 7 in. (17.8 x 17.8 cm), Collection of the University of Kentucky Art Museum; bequest of Robert C. May
Chris Meatyard (1973) by May serves as an instance wherein other club members’ families assisted in making photographic experiments exploring how light propels itself across different surfaces. The proximity of many of these various portraits within the gallery suggests that nearly all stemmed from the similar creative inputs—indeed, they did. Sholis’ ability to mold the club’s complex profile out of interconnected parts prompts a realization one may only be able to experience upon visiting the exhibition and seeing these objects in person: that this group of Midwestern photographers was indeed working as a unit.
Van Deren Coke, Thou Shalt Not Steal, 1963, gelatin silver print, 6 1/16 x 8 1/4 in. (15.4 x 21 cm), Collection of the University of Kentucky Art Museum; gift of the artist
The theme of Place occupies the middle section of the gallery and it is here where Sholis’ selections accentuate certain regional characteristics. Specifically, the photographs that embody the club’s dedication to depicting nearby places exceed typical representations of home. Coke’s Thou Shall Not Steal (1963) presents a newspaper rack stocked with copies of the July 21, 1963, edition of The Lexington Herald-Leader. The rack’s nameplate is flipped so that the stamped relief of the newspaper’s name appears backward in the photograph. The backside of the nameplate faces the viewer and contains handwritten prices for the Herald-Leader while offering the photograph’s eponymous warning to potential thieves; the warning even cites its source—Exodus 20: 3-17. Some editions of the paper appear upside-down, forcing one to concentrate on the photograph’s content if they wish to gain a sense of the printed headlines and stories.
The varied texts in Coke’s image marry political, religious, and colloquial musings in an attempt to capture local interests in 1963. While the biblical excerpt stands out amongst smaller text, it yields to the overabundance of legible words and phrases. Thou Shall Not Steal exemplifies the attention Club members paid to the environment, noting how some ideologies can shape local culture.
Thomas Merton, Untitled, ca. mid-1960s. Archival inkjet print from original negative, Lent by the Thomas Merton Center at Bellarmine University. Used with permission of the Merton Legacy Trust
Under the guise of Place, Kentucky Renaissance also includes photographs that could be appropriately categorized as landscapes, but even these examples break from stereotypes of the landscape genre. Thomas Merton’s Untitled (c. the 1960s) displays a close-up view of water ripples near the point where water and rock meet. While it is unclear where Merton was when making this photograph, the rocky features mirror elements from works such as Cranston Ritchie’s Untitled (Hands on Rock) (1956-61) or Meatyard’s photographs of Eastern Kentucky’s Red River Gorge that were published alongside Wendell Berry’s prose in The Unforeseen Wilderness (1971).
Merton’s image serves as a visual intersection of photographic experimentation and spirituality. Some club members found inspiration in facets of Zen teachings after Coke and Meatyard learned about Zen from Minor White during a 1956 workshop at Indiana University, Bloomington. Merton’s photograph is exemplary of the distribution of White’s expertise. It should be noted, however, that Merton—who was ordained in 1949 and lived in the Abbey of Gethsemani in Bardstown—was already a person of faith when this photograph was made. He likely used White’s insight as guidance for incorporating his mantras into his preferred photographic techniques. In any case, Untitled captures in detail subtle features of Kentucky terrain in a manner akin to one of the twentieth century’s most prominent photographers. Merton’s photograph may allude to isolation, but the Lexington Camera Club was not a group unfamiliar with the broader photographic community.
Familiarity with White and mainstream photography (Coke had in his personal collection photographs made by White, Alfred Stieglitz, Walker Evans, and other well-known artists) did not stop members of the Lexington Camera Club from pushing the limits of the photographic process in innovative ways. Experimentation becomes the focus in the gallery’s third area, the one furthest from the exhibition’s entrance.
James Baker Hall, Chairs, ca. 1973, gelatin silver print, 6 1/2 x 6 7/16 in. (16.5 x 16.4 cm), Cincinnati Art Museum; Museum Purchase: FotoFocus Art Purchase Fund, 2016.28
Here, People and Place serve as subjects from which to explore the steps one takes when making a photograph. James Baker Hall used a film camera when making Chairs (c. 1973), in which he re-wound the film to expose the same negative multiple times. Different viewpoints of the same group of wooden chairs are layered on top of each other, some more in focus and opaque than others. A ghostly aura characterizes the photograph’s content, but it is Hall’s process that is the actual subject of the work.
Zygmunt S. Gierlach, Abstract, ca. 1966, gelatin silver print, 6 3/4 x 7 in. (17.1 x 17.7 cm), University of Kentucky Libraries Special Collections Research Center, Lexington
Experimentation culminates in images such as Gierlach’s Abstract (c. 1966), which is reminiscent of Man Ray’s radiographs. To achieve the aesthetic in both Abstract and Ray’s radiographs both artists laid objects on top of light-sensitive paper before exposing the paper to light. Gierlach, a radiologist by trade, created multiple works like Abstract that also appear in the exhibition. Sholis likely felt obligated to include images like Abstract in the exhibition, yet his placement of them within the gallery was undoubtedly a deliberate choice: Gierlach’s experimentations are on the gallery’s back wall—Abstract and its equivalents are the last works to be seen.
Visitors are then compelled to exit the gallery via the way they entered; Abstract then becomes only the midpoint of one’s journey through the gallery. Enhanced by the dispersion of publications featuring prints made by club members throughout the room, one’s revisiting of the exhibition’s themes continues to build the intended narrative around Coke, Meatyard, Gierlach, and their peers. That is, the Lexington Camera Club stands as one of history’s most self-supportive, exploratory groups of art practitioners.
Kentucky Renaissance: The Lexington Camera Club and Its Community, 1954-1974 runs until January 1st, 2017 at the Cincinnati Art Museum. A full-length catalog by Brian Sholis, accompanied by John Jeremiah Sullivan, is available for purchase through Yale University Press.
TOPMOST IMAGE: Cranston Ritchie, Untitled [Hands on Rock], ca. 1956–61, gelatin silver print, 7 x 9 in. (17.8 x 22.9 cm), Cranston Ritchie Collection, Photographic Archives, University of Louisville
ABOUT THE AUTHOR: Hunter Kissel is currently pursuing a Master of Arts in Critical and Curatorial Studies as well as a Master of Public Administration at the University of Louisville. He has held fellowships at the Speed Art Museum and the Kentucky Museum of Art and Craft and has curated exhibitions at the Kentucky Museum of Art and Craft, the Hite Art Institute at the University of Louisville, and the Huff Gallery at Spalding University. His MA thesis will focus on the life and career of Ralph Eugene Meatyard.
His work along with that of his contemporaries Van Deren Coke (1921-2004), Zygmunt S. Gierlach (1915-1989), James Baker Hall (1935-2009), Robert C. May (1935-1993), and Ralph Eugene Meatyard (1925-1972), Thomas Merton (1915-1968), Cranston Ritchie (1923-1961), Charles Traub (b.1945), and Jonathan Williams (1929-2008) numbered nearly 150.
All of the photographs, chosen by curator Brian Sholis, were made while these men worked along side one another in Lexington, Kentucky as members of the Lexington Camera Club. The exhibition brings to light many things, including how a connected and collaborative community raised the bar for all involved. In fact, in the accompanying exhibition catalog, the curator uses the term ‘genius’ to describe the inspiration of that time.
Curious about Guy’s thoughts on the matter and what intrigues him still today about Lexington, Kentucky, I decided to talk a little more in-depth with him. Our interview was lengthy and UnderMain will bring portions of it to you throughout the duration of the show – January 1, 2017.
After hearing Guy’s thoughts on so many things, I began to wonder about that genius thing – if real genius emerges only when you are wise enough to open yourself to it, so humble as to never admit you possess it, and honest enough to be generous with it. We are very fortunate to have Guy in our midst.
Here is just an introduction to my interview with Guy Mendes. Listen and learn how Guy went from being a ‘Kitten’ to realizing – late in life – that he is a native Kentuckian.
Guy Mendes as Kitten, 1966-67, Photo by Rick Bell
When Guy Mendes arrived in Lexington as a young man he intended to play basketball (who knew?) and study journalism. He landed a job with the Kentucky Kernel and, at the same time, walked onto the 1966-67 Kittens – the University of Kentucky’s junior varsity/freshman basketball team.
Guy was uninspired at the time by the classes in journalism, but highly intrigued by his work at the Kernel. The Kernel was – in Guy’s words – ‘a pretty radical paper back then’. It was a daily paper and part of the United States Student Press Association, a nationwide organization that shared a teletype machine from a network of colleges including Berkley, Harvard, Michigan and North Carolina.
His journalistic endeavors led him to cover many noteworthy things including the Vietnam War and Civil Rights, but for the sake of this interview, I was particularly intrigued by his story about the Fall of 1967 – when his interest in journalism led him to meet two men who would change his life forever: Wendell Berry and Ralph Eugene Meatyard.
It was an eye-opening time for Guy Mendes. What he learned then, he still lives by today: it is not what you look at in life, but what you see.
It has been nearly four decades since Kate Savage first arrived from England to take up residence in the Bluegrass State. The innovator behind Art Connects, Savage has made it her personal mission to help artists from all artistic disciplines to come together, collaborate, and discover more opportunities to share resources and expand artistic awareness.She has a passionate love for all art forms, and sees her role as one of a facilitator.
“My father worked for an American oil company back in the ‘50s and I grew up in the Middle East. When I was five, we moved to Bahrain which then was “home” for thirty years.I attended London University where I majored in English with a minor in Art History.I moved to Lexington in 1977, after marrying a Lexingtonian I had met and dated in London,” Savage recalled. “My love of different cultures, my admiration for anyone who could create anything, my curiosity about the ways to communicate through words, performance, visual expression, even silence that speaks volumes, has been a life-long fascination for me.”
It was not long after her move to Lexington that Kate opened her own catering company, Bleu Ribbon Hospitality.Over time an upscale gourmet food shop, Scarborough Fare, grew out of her catering business, and operated for many years on Romany Road. “The origins were in a commercial kitchen on Maxwell Street,” she recalled, “But as the business expanded we moved to the Romany Road location alongside Suggins and Wheeler’s Pharmacy, both iconic landmarks for serious Lexingtonians. For me, working with food became an outlet for creative expression”.
In 2008 she sold her food business to the owners of Suggins.Looking for other ways to stay involved Kate saw a community need and decided to invest her efforts in helping the many different artistic genres in new and creative ways. Thus, Art Connects was conceived.
“Art Connects started about a year-and-a-half ago by originally introducing the Talk and Tour Series.These were lectures that were paired with an exhibition within driving distance, be it at the Speed, Taft or Cincinnati Art Museum, that subsequently were followed up with tours.The next of this ongoing Talk and Tour Series: Talk a Walk on the Wild Side, will begin with the “Talk” segment on Nov. 15 at the Main Branch of the Lexington Public Library and continue with the follow-up Tour on the 17th of the Cincinnati Art Museum. This Talk and Tour Series will explore the current exhibition: Kentucky Renaissance: Lexington Camera Club and Its Community. 1954-1974that includes works by such well-known photo-artists as Ralph Eugene Meatyard, Guy Mendes and James Baker Hall as well as the concurrent exhibition: Van Gogh: Into the Undergrowth, that opened on October 15th and will run until January 8th 2017. Guy Mendes, one of the youngest members of the Lexington Camera Club whose work is included in the photography exhibition, along with Ann Tower, the owner of Ann Tower Gallery who for many years was the art critic for the Lexington Herald-Leader, will be co-Talk and Tour hosts.
The next program that Art Connects introduced,Paint the Town,hasbecome an established annual event held in June. It is the revitalization of a similar but bygone event started by Gallery B. “This event is held for Plein Aire artists,” said Savage.“These are artists who work outside their studio in the ‘fresh air’, like van Gogh and Monet.For the last couple of years as many as 50 artists have participated, coming from as far afield as Bowling Green and Cincinnati.They set up their easels within an eight-block designated area of downtown and paint from 8am-2pm. Works are then turned in – often still wet – curated, hung and judged anonymously as Best in Show, 2nd and 3rd Place, as well as a People’s Choice.Cash prizes are awarded by the guest judge at the Opening Reception held that same evening. The works remain on exhibition through the July Gallery Hop and are for sale,” she said.
Paint the Town focuses on a particular group of painters and the community is encouraged to come to downtown Lexington, stroll the streets and observe as art is made. “It’s astonishing how much talent there is right here in our Bluegrass backyard, and I marvel at what can be produced in just six hours,” said Savage.
Also engaging Savage’s energy is the Art Connects Mobile Gallery. This is another mutually beneficial program that connects artists with opportunities to exhibit their work outside the mainstream venue of a gallery show.Savage takes original artwork by local artists into corporate spaces, and rotates the work every three months.Turning business and office walls into mini galleries and creating a curiosity and a conversation.This is a subscription service, but to date all participants have renewed their annual subscriptions.
“Meditation Meadow” by Jana Kappeler, exhibited at Hilliard Lyons
“Work accumulating against a studio wall is of little benefit to the artist.” Kate said.“It’s so fun when I show up with replacement art to see the excitement and interest generated.This is a program that is really helping to stimulate an interest in art for people who previously probably didn’t bother notice or reflect on what was hanging on the walls.”
Collaborations and partnerships are key elements of Art Connects efforts.Through a sponsorship from Wells Fargo Advisors LLC, who expressed an interest in collaborating with a non-profit’s endeavor, Art Connects sent out a Call to Fayette Co. High School Artists. Students were invited to produce a “Kentucky December Holiday” themed artwork. More than 40 students representing every High School in Fayette County responded with Letters of Intent.Works have been submitted and will be evaluated anonymously by a seven-panel group. Cash prizes will be awarded to the three winners at the Wells Fargo Holiday Party in December.“This is philanthropy working” said Savage, “I give to you and you turn around and give to someone else.”
Savage’s efforts to facilitate networking among various artistic disciplines responded to an identified need. The Kentucky Arts Council’s extensive statewide 2014 Creative Industry Reportincluded data from a survey that asked individuals across Kentucky where they saw gaps and needs in services and support. Opportunities to network with other artists rated among the top five priorities. “So I started what are now the Art Connects Networking Lunches,” Savage said. “The initial series of three was this past Spring and we have just wrapped up the Series for this Fall.”
The Networking Luncheons ($25 including lunch) are open to the public. “Alice Gray Stites, the Chief Curator and Director of Art Programming forall 21c Museum Hotels, was the first guest speaker a week before the 21c Hotel Museum in Lexington opened. It was a sell out and set the bench-mark high,” Savage said. “Others have featuredJoel Pett and Poet Laureate George Ella Lyon. Well-known Metropolitan Opera tenor, Gregory Turay with Tedrin Blair Lindsay as piano accompanist were the November presenters and they, needless to say, ended the series on a high note!”
Savage’s work is driven by a desire to discover new ways to bring people – artists and communities – together in collaboration, corroboration and cooperation. “There’s no reason why we can’t work together and support each other across the artistic disciplines. It keeps me busy; I do my own website and social media, newsletters, solicitations and I love the all of it. My personal philosophy is ‘a rising tide lifts all boats.’”
(Featured image at top of page: “Gratz Park” by Heather Tackett)