Tag Archives: Dmitry Strakovsky

Arts

End of the Beginning UMGram/Sent 5-4-2020

Photo credit: Theresa Bautista

Reflections on Stillness:  How Dance Continues to Move Through the Pandemic
Stephanie Harris, who is on the faculty of the Dance program at the University of Kentucky, explores a paradox of our COVID era; how the stillness of our quarantined lives allows for the expression of deeper insights through movement. Using improvisational techniques that she has been studying and researching, Harris works with her students to explore and express deeper truths within themselves through dance.

Artist Tony Tasset standing next to his Mood Sculpture, installed near the Student Center, but relocated this past winter to the front of the UK Art Museum. Photograph by Alan Rideout

Stuart Horodner: The Art World After COVID
The Director of the University of Kentucky Art Museum misses the public interface that is so much a part of any museum’s life. After COVID, surviving arts organizations will face an environment that needs and demands clarification of relevance and mission, and that ascertains what can be accomplished with assurance and excellence when faced with new limits on resources.

Image courtesy of Dmitry Strakovsky

Dmitry Strakovsky: The Art World After COVID – The Last Days of the [Centralized] Art World.
Strakovsky is hardly mourning the art world that Jerry Saltz describes in his piece in Vulture. With little room for technological innovation or small galleries and a constantly escalating “arms race”, that gallery art world was unsustainable with its limited audience of extremely wealthy patrons. Maybe there is hope for a reinvented, accessible, and decentralized visual art world after COVID.

KY Author Debut: Bobi Conn
An idyllic setting in Eastern Kentucky, but author Bobi Conn’s debut memoir recounts a harrowing childhood home with an abusive father, and her escape from that place filled with trauma and violence. Tom Martin interviews the author for WEKU’s Eastern Standard.

ETC.,

While we are all surely hoping for a breakthrough in both the development of treatments and vaccines, it is apparent that we are just in the first phase of dealing with this deadly virus. Despite noisy and threatening protests, polling consistently shows that most Americans understand this. How the arts and culture community is coping with the pandemic and its ravages is an important story we will continue to cover. Our ongoing series of brief essays, “The Art World After COVID”, is one way we are engaging in this needed conversation. Look for more of these provocative essays on our website and highlighted in future newsletters. We encourage you to send us your responses and feedback to these essays and more at UM@under-main.com. We will have other COVID-related coverage going forward, including interviews with folks in different roles in the arts sector.

Meanwhile, we have highlighted in past newsletters and on our website arts relief efforts emanating from Louisville and Lexington, and we encourage you to support those efforts. Watch for a big announcement this week from the Artist Relief Trust . UnderMain’s Christine Huskisson is an A.R.T. steering committee participant and says, “This initiative is exemplary as a broad-based coalition from across the state of Kentucky; arts advocates from multiple disciplines continue to raise funds for distribution to Kentucky artists and musicians and I am proud to call UnderMain a partner in the effort.” If you would like more information or are considering a donation, feel free to contact Christine at christine@under-main.com.

A shout-out to our friends at the Lexington-focused CivicLex. In addition to their COVID resource page, they have been holding an excellent series of well-attended online digital town halls, including one pertaining to the arts and culture sector. They are currently uploading the recordings of the town halls to their website.

Bobi Conn (With permission of the author)

Looking ahead, we are going to be increasing our book-related content. Tom Martin’s interview for WEKU’s Eastern Standard of author Bobi Conn is a terrific introduction to the kind of book coverage we hope to be able to offer. A pandemic is a perfect time to catch up on your reading. We will focus on books with a Kentucky-connection, due to authorship or Kentucky-relevant content.

Photo image: Musei Vaticani

Sorry about the cancellation of this summer’s trip to the continent. We know Italy was on the itinerary and surely a visit to the Vatican in Rome was on the schedule. The Vatican has one of the world’s great collections of art housed in several museums. You can take virtual tours of some of the museums on the Musei Vaticani website. Michelangelo’s Sistine Chapel is, of course, a highlight of any visit to the Vatican. Here is a link to a decent tour of the Vatican Museums and Sistine Chapel.

Detail of Sistine Chapel

As we acclimate to our changed lives, take a moment to think about all those helping hands that are working to keep us healthy and safe. If you are able, consider donating to community relief efforts that are helping others. We are all in this together.

You can sign up to receive our UMGram newsletters hot off the press in your email inbox on any page of our website.

Arts

Emily Ludwig Shaffer at Institute 193

Approaching Institute 193 on North Limestone in Lexington, I peer through the storefront window to make my first encounter with Emily Ludwig Shaffer’s paintings. A New York resident with deep roots in Lexington, Kentucky, Ludwig Shaffer treats us to meticulously rendered scenes which engage with visual elements traditionally relegated to second-class citizenship, or else, to the merely “decorative.” A braid adorns a side of a building. A topiary wall pushes forth, and seemingly through, a canvas surface. Plants, in various arrangements, populate the works. As I step into the space, the architecture of the work presents itself. The painted surfaces, at once, acknowledge their illusionistic nature by offering flat color passages and push us into masterfully modeled surreal spaces, wherein the difference between interior and exterior constructions oscillate and meld.

There are no clear protagonists within these subtle dreamscapes, no clue to privilege in any one of their quiet actors. When we are finally presented with the human form, it is that of two monochromatic grey, female sculptures, with arms outstretched in a gesture of refusal—the “No-No dance.” This term, coined by the artist, contributes to the titles of the painting and the show “From the Ha-Ha Wall Comes the No-No Dance” joined with reference to a French garden design feature.

From The Ha-Ha Wall Comes The No-No Dance, 2019
Oil on canvas
72 x 65 inches

Ha-ha is a wall structure that acts as a physical separator without breaking the visual flow of the landscape. Aside from grounding the references to gardens and greenery, which abound in Ludwig Shaffer’s work, this term allows us to speak about “control” as one of the themes explored on the painted surface. Much like the Ha-Ha wall’s ability to assert a boundary while preserving a certain viewing and traversing of the landscape, many of the painted elements govern the viewer’s eye without announcing their presence. This runs the gamut from more literal renderings of walls and hedges within the painted naturescape, to utilizing the physical dimensions of the canvas to interrupt the flow of the composition. Here, meticulously-rendered realism strains against the two-dimensional surface. These compositions effuse a careful balance, presenting elements which both challenge and control one another. This facilitates a productive tension, drawing this viewer back into the painted surfaces in an attempt to discern the visual flows suggested within them.

Another aspect of the works on view that echos control and tension in an intriguing way is Ludwig Shaffer’s treatment of the female body. It is denied specific personhood and, as mentioned earlier, does not function as a protagonist of any narrative suggested in the paintings. It is an object, just like any other within the space of the composition, and in a visual culture that often both centers and objectifies its female subjects, this visual strategy provides an understated yet quite empowering alternative.

R & R & R, 2019
Acrylic on paper
22.5 x 30 inches

When preparing to write about the work, I quickly scanned through a number of historical French garden images. The most famous of these, the Gardens of Versailles, somewhat ironically bill themselves within the two-dimensional space of the webpage as, “The art of perspective.” I find this to be a really interesting point of entry into Ludwig Shaffer’s paintings due to the visual complexity of the interior and exterior spaces that she renders within her work. Although the architectural edges are carefully taped off and delivered to the viewer in a pristine semblance, the actual geometry is compromised: the viewer experiences an amalgam of possible perspective points within a single composition. This signals a very careful and intentional game played by the artist, one full of intriguing visual nuance.

Up Out In, 2019
Oil on canvas
72 x 96 inches

During the exhibition opening, I spoke briefly with Ludwig Shaffer, about possible links to Giotto paintings or perhaps Uccello: visual spaces where the technique of perspective was explored but not equally controlled over the whole of the composition by painters steeped in iconographic traditions. The artist brought up another early source of inspiration, Roman and Greek sarcophagi friezes, where the viewers encounter implied interior spaces which travel between the physicality of carved stone and the illusion of perspective. Upon further communication, Ludwig Shaffer brought up another exciting line of visual influence, Persian miniatures; illustrative works on paper that emerged in the region after the Mongol conquest in the 13th century and subsequent introduction of Chinese scroll painting tradition. Presented within album or book format, the miniatures allow for a completely different way to organize the composition that eschews standard perspective practices of Western painting. These constitute truly intriguing points of departure for the exploration of the painted surfaces, particularly in the art world that is often more concerned with referencing its own mercurial trends, than maintaining deeply-rooted dialogs with the past.

Giotto, Feast of Herod
Fresco, 1320
110 x 177 inches
[source: https://www.wikiart.org/en/giotto/feast-of-herod-1320 ]

The Spy Zambur Brings Mahiya to the City of Tawariq, Folio from a Hamzanama (Book of Hamza),ca. 1570
Attributed to Kesav Das
Ink, opaque watercolor, and gold on cloth; mounted on paper
29 1/8 x 22 1/2 inches
[source: Met collection https://www.metmuseum.org/art/collection/search/447743]

 

It is important to mention, at this point, another aspect of the show, the collaboration with the Michler Family Florists and Lexington-based architect & designer Jason Scroggin, who teaches at the University of Kentucky School of Architecture. Scroggin’s studio designed and built a custom bench seat with planters, which in addition to function, complemented the show by extending the motif of architectural space. This was a feature that many a gallery visitor appreciated during the opening and one that, perhaps, suggested the potential domestic settings the paintings could go on to inhabit in their future lives.

Overall, this is a show that presents us with smart, carefully-balanced, painted constructions. They are not loud. They do not demand our attention. But if attention is given, they are like good books; reminding us how easy it is to lose oneself within tightly crafted layers full of visual games, historical allusions, tactile enjoyment, and nuance.

Emily Ludwig Shaffer: From the Ha-Ha Wall Comes the No-No Dance, runs thru June 8, 2019, at Institute 193 in Lexington.