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.
One of the showcase pieces in KMAC Museum’s inaugural triennial survey of contemporary art in Kentucky (up through December 1, 2019) is a trio of sumptuous, pretty, scary paintings by Vian Sora, an artist currently living and working in Louisville, and originally from Baghdad, Iraq. According to the wall-text, in the three paintings Sora “employs expressive painterly abstraction as a means to convey the emotional and psychological trauma brought on by her time living in and fleeing from her home in war-torn Baghdad.”
Installation view, KMAC’s Triennial “Contemporary Art of the Commonwealth: Crown of Rays”; pictured on right wall is Vian Sora’s “Last Sound”, 2018, Mixed media on canvas, 60″ x 85″
All that’s true, I’m sure, but witnessing the gorgeousness of the three paintings on site is an altogether aesthetic experience, not exactly free from trauma, but stubbornly transcendent, referencing what art can do when it’s not tethered to actuality, even though it is made in response to what has actually happened.
The wall-text helps you navigate the reasons why Sora has created what’s on the wall, but it can’t explain the moment when you first see Sora’s work and have your own thoughts woven into its blasts of color and form, its Matisse-on-fire urgency and just plain corrosive prettiness. The meaning, in other words, is a negotiation outside of biography and intention: it’s the meeting of memories and ghosts on both sides, the viewed and viewer.
Installation view, KMAC’s Triennial “Contemporary Art of the Commonwealth: Crown of Rays”; pictured in center on the column is Hunter Stamps, “Engulf”, 2019, Ceramic, 96” x 18” x 24”
To me, that’s what makes visual art so necessary now in a world where every cultural idea/pose/construct/narrative seems to be explained ad nauseum, thanks to social-media posts and pundits, the saturation of explanation becoming the way we not only take in but respond to “the world around us,” even our own biographies and struggles. Visual art, like Sora’s paintings, need to exist outside of information for them to truly register, to foment meaning beyond intention, that moment when you as the viewer see what’s been made, disconnected from root causes, and make the match in your own head.
The wall-text, in other words, just becomes gravy, biography a beautiful afterglow.
“Nothing exists until or unless it is observed. An artist is making something exist by observing it. And his/her hope for other people is that they will also make it exist by observing it. I call it ‘creative observation.’ Creative viewing,” William Burroughs wrote.
I’ve been reading Burroughs’ fiction and non-fiction lately, as his teeming, satirical, scatological takedowns of addiction and language and America all speak directly to our current times. He was vitally interested in how all forms of art try to get at experience while also dislocating it, finding meaning outside of actualities, so that what we see and read and hear blur reality to the point of it escaping and learning from the escape.
What Burroughs seems to be pointing out in the above quote is that merger of making and observing, creating and taking, an ongoing metaphorical and ontological pollination that gives art its main function, to uncover routes of escape, that impulse to make meaning once the art is outside of the artist’s control, even the artist’s resolve.
Installation view, KMAC’s Triennial “Contemporary Art of the Commonwealth: Crown of Rays”. Pictured here is a series by Bette Levy.
“Pollination” is at the center of KMAC Museum’s triennial, subtitled “Crown of Rays,” according to more wall-text introducing the whole gig: “In 1926, Kentucky lawmakers adopted the Goldenrod as the official state flower. From meadows and prairies to polluted city environments, it flourishes, heartily, among wide ranging conditions and soil types.” It turns out “the Crown of Rays is one of over a hundred cultivated plants within the Goldenrod genus, distinctive for its spears of clustered tiny yellow flowers that jut out like sunrays and that recall the halos of saintly iconography.”
“Iconography” is at the core of another triennial artist’s work, in direct contrast to Sora’s abstract-expressionist forms. Jimmy Angelina pulls out cinematic images and poses and places them outside of themselves in a series of itchy, R.Crumb-like drawings all done in black ink and installed horizontally on a banner of black paint. The fractured dramatic moments Angelina depicts erase the meaning of their origins, and transform into a parade of ghosts without progenitors, floating through space like celluloid in search of a projector.
Lori Larusso’s wall-haiku, “A Pastiche of Good Intentions,” is an amazing assortment of food and other iconographies stolen from billboards and magazines and other media. The materials she uses (ribbons and flat acrylics on polymetal panels) lend the whole piece hilarious authenticity while also providing sweet little moments of total smart-ass side-eye. It’s a tour-de-force of meaninglessness finding meaning, kind of like an e. e. cummings poem turned into a Barney’s window display.
Kristin Richard’s installation right across the way from Larusso’s piece, titled “gentle platinum antibacterial essential botanical escapes” is made up of Dawn dish soap, water, glass, laminate, wood, lighting, and form, and pushes forward a sort of laboratory elaboration on the strangeness of what is already there, always there: cabinets, Mason jars, Formica, shelves, all crystallized into a sci-fi moment, an altarpiece to boredom churning into worship. The colors of cleansers become the aesthetic impulse that pulls us through. You can attach all kinds of meanings to Richard’s gorgeous constellation, but at the end of the day it all seems to be orbiting Burroughs’ idea of existence created by observation. Taking banality and transforming it into otherness by simply displaying it outside of its purpose and premise.
“Narrator”, 2019 Oil, acrylic, sand on canvas 30” x 42”
John Harlan Norris’ series of phosphorescent portraits (done in oil, acrylic and sometimes sand on canvas) take banality and dance it into surrealism, abandoning seriousness in favor of play and ingenuity and punchlines that don’t have jokes to go with them. They are basically pictures of ghosts made up of fashion fragments and plastic doodads, all completed in those cold glow-in-the-dark colors that encapsulate pop-culture and pop-art memories of the early 1980s. Each painting is a fever-dream album-cover for synth-pop masterpieces that never got made, and yet still linger in the collective unconscious. “I want my MTV” becomes beautiful oblivion.
Another sort of playfulness, completely serious, comes to fruition in Harry Sanchez, Jr.’s two portraits, both acrylic on Styrofoam, from a series of prints in which he appropriates media images of deported immigrants. The images are distorted somehow into clarity and create meaning without being embedded in it. Sanchez chisels those pictures into Styrofoam, pulling mundane portraiture into a game of insight and integrity. His work in the show provides a witty moment of silence, while also forming the best kind of protest: saying something very clearly without contributing to the overall noise.
“Hiss”, 2019, Match burn on Arches paper (96” x 24” x 33”) and “Shed”, 2019, Vintage quilt, polyester, glass (12′ x 3′ x 28″). Special thanks to the Rockwell Museum and Corning Museum of Glass for making the sculptural glass components possible while Melissa Vendenberg was artist-in-residence at CMoG.
Two snakes intertwined in the middle of the second floor is what I want to end with. Melissa Vandenberg’s “Shed” is a sculpture produced from an old stuffed quilt with what look like glass booties on each end. Snakes of course are so symbolic they almost short-circuit their own symbolism; they can signify associations with all kinds of institutions, religions, nations, myths. What Vandenberg’s piece gets at is a moment of poetry outside of all that chuffah: the symbol is the thing, and the thing is almost terrifying enough to make you want to retreat into symbol. However, the piece has an inherent innocence about it, a Holly-Hobbie texture and context that slides the intertwined reptiles into glassmuzzle dream.
“Dream” is a loaded word and term of course. Historically visual art has often retreated into “dream” during turbulent and insane times, but many of the artists in KMAC Museum’s first triennial take the concept of “dream” and find a way to both comment on and satirize how “meaning” in our meaning-saturated times can sometimes become a way out of literalness and into something entirely outside of a news-feed.
TOPMOST IMAGE: Installation view, KMAC Triennial. Work by Philis Alvic in the foreground.
An exciting exhibition of work by three women artists, including UK SAVS faculty member Crystal Gregory. Snyder’s evocative, dense work include markings, floral references, and writing. Ledgerwood’s colorful paintings reference craft and ornamental traditions. And Gregory embeds weaving with nontraditional materials such as metal and concrete.
Judy Ledgerwood, Pretty Monster, 2015, oil and metallic oil on canvas.
This first triennial exhibition at KMAC sought submissions from artists who spent formative years in Kentucky. The group of twenty artists in this exhibition were culled from over two-hundred submitting artists and selected by a jury headed up by KMAC Curator, Joey Yates. The Triennial reflects the diversity of practice by Kentucky artists ranging from traditional artworks in weaving and painting to works in sound and video. UnderMain will have a review of this important exhibition this fall.
This first comprehensive retrospective of the work of Robert Colescott, who died in 2009, brings the often controversial work of this artist who explored below the surface notions of race, diversity, stereotypes, and identity. An important exhibition coming in the midst of our heated national conversation about these matters.
Robert Colescott, Sleeping Beauty, 2002, acrylic on canvas.
On Wednesday, March 28th, 2018, UnderMain held its second Critical Mass panel discussion on critical thinking in the arts, examining, in part, what role criticism plays as Kentucky artists and institutions engage more readily with a national and international dialogue. This year, our partners were The Great Meadows Foundation and KMAC Museum, with KMAC Curator Joey Yates moderating. We conducted Critical Mass I in 2016 in partnership with the University of Kentucky Art Museum. Critical Mass III will take place in Northern Kentucky in 2020.
Our featured panelist this year was New York-based curator Dan Cameron. Dan shared his extensive experience as a curator, writer, and critic as well as the inaugural Critic-in-Residence for the Great Meadows Foundation. During his March residency he made studio visits to a number of artists in the region as part of the foundation’s goal to help strengthen and support the critical growth of Kentucky artists’ work.
UnderMain promotes robust critical discourse in our region as it aids in the development of the individual artist and an awareness about Kentucky’s position within the larger art world. Missions aligned as these three partners believe that exposure to criticism plays an essential part in an artist’s development and a community’s growth. Dan’s thoughts were well-balanced by the insights of our three other panelists, Emily Elizabeth Goodman, Tiffany Calvert, and Vinhay Keo.
For those of you who could not join us, we have composed a short video for you. Ten minutes or so of the juiciest stuff. Hope you enjoy.
UnderMain, Inc. would like to acknowledge the following for helping us organize Critical Mass II and producing this short video:
Julien Robson, Director, Great Meadows Foundation
Joey Yates, Curator, KMAC Museum
John Williams, Principal Photographer / Producer SoundART Management™
HD PERFECT™ VIDEO & PHOTO
Eric Cade Schoenborn, Designer, Culture on Demand
Raleigh Dailey, Pianist/Composer
Savannah Wills, Chellgren scholar
Along with his ongoing curatorial projects, Cameron is a widely published art critic, with several hundred book, magazine and catalog essays to his credit. Along with teaching on the graduate faculties of Columbia University, NYU and the School of Visual Arts, Cameron is a frequent lecturer at museums and university campuses around the world. He currently serves on the Advisory Boards of the Madison Park Art Conservancy in NYC and the ARC/Athens Artist Residency in Greece. He has received numerous awards for his curatorial and scholarly work, most recently the 2010 Service to the Arts Award by the Anderson Ranch in Aspen, Colorado, and the 2015 Eminent Scholar award from the American Cultural Association/Popular Culture Association.
Emily Elizabeth Goodman
Emily Elizabeth Goodman is a Lexington, KY-based art historian, curator and critic and Assistant Professor of Art History at Transylvania University. She received her B.A. from McGill University and her MA and Ph.D. from the University of California, San Diego. Her doctoral research focused on the use of food culture in feminist art in New York and California during the era of the “Second Wave.” Her more recent scholarship and curatorial work — which includes the exhibition New Domesticity concurrently at the Morlan Gallery and the Parachute Factory — has focused on contemporary women artists’ examination of craft and domestic labor in the American South. She is the author of a forthcoming article in the journal Performance Research and writes for various art publications including Number magazine and Hyperallergic.
Tiffany Calvert is Assistant Professor of Painting at the Hite Art Institute at the University of Louisville. Tiffany’s work has been exhibited in group and solo exhibitions including Lawrimore Project in Seattle, Visual Arts Gallery at SVA New York, and Carl & Sloan Contemporary in Portland, OR. She has been a recipient of a Geraldine R. Dodge Fellowship and residencies at the ArtOmi International Arts Center (NY) and Djerassi Resident Artists Program (CA). In 2010 she was awarded a Pollock-Krasner Foundation Grant.
Vinhay Keo is originally from Cambodia, where he spent the first 10 years of his childhood. He earned his BFA from the Kentucky College of Art + Design at Spalding University. He received the Ellen Battell Stoeckel Fellowship to study at Yale Norfolk Summer School of Art, a Great Meadows Foundation recipient, participated in workshops such as Anderson Ranch Art Center and Anne West’s writing reflection. His work has been exhibited throughout galleries in Louisville, Kentucky with a recent solo exhibition at Moremen Moloney Contemporary Gallery.
Vinhay Keo, “Model Minority” from the Confront 2017 series shown at the Moremen Moloney Contemporary Gallery, Louisville, Kentucky
UnderMain, Inc. – a Kentucky 501(c)(3) – is an arts, cultural, and topical online publication that has a wide bandwidth. Cultural affairs is a big basket. Arts of all kinds, community issues, controversies, contests, events, people, and critical reviews. UM is serious and fun. We love playing in the digital sandbox and presenting vivid content to you, ad-free, as we offer support to some of Kentucky’s most talented writers, artists, and performers. (www.under-main.com)
Great Meadows Foundation is a grant giving foundation, launched in 2016 by contemporary art collector and philanthropist Al Shands. Named for the home that Al and his late wife Mary created, the mission of Great Meadows Foundation is to critically strengthen and support visual art in Kentucky by empowering our community’s artists and other visual arts professionals to research, connect, and participate more actively in the broader contemporary art world. (www.greatmeadowsfoundation.org)
KMAC Museum is a contemporary art museum located in the West Main District of downtown Louisville KY. Through exhibitions and educational programs the museum examines the multifaceted landscape of contemporary artistic production and material culture. (www.kmacmuseum.org)
Published by UnderMain, Inc., P.O. Box 575, Lexington, Kentucky 40388