Tag Archives: KMAC

Arts

A Little Room to Breathe

Installation is the presentation of works of art. The following is a look at museum installations in New York, London, Edinburgh and Louisville that all work well in different ways.  In great installations the sequence and juxtaposition of art objects presents a silent argument, making a case for the richness or provocative value of the works laid out in a gallery.  Great installations give maximum value to the artworks and exploit, to that end, lighting, wall color, spacing, explanatory labels and the placement of pedestals and gallery furniture. Great installations also require that the selection of works be judicious and sustain attention and engagement. Too often exhibitions are weakened by the inclusion of mediocre work: better the A work by the C- artist than the C- work by the artist with an A reputation. Failure to consider ways of breaking open the canon of received opinion and the inability to make surprise a component of gallery arrangements are also common shortcomings.  So what works?

‘Action Painting I’, Gallery 403, 2019, exhibition view. Courtesy: © 2019 The Museum of Modern Art, New York; photograph: Heidi Bohnenkamp

Installation view of Action Painting I (gallery 403), The Museum of Modern Art, New York. © 2019 The Museum of Modern Art, Photo: Heidi Bohnenkamp

The Museum of Modern Art, newly re-opened in October after a major expansion, sidesteps the common pitfalls.  There is an increase in the white space between works; the re-hang gives precedence to artists neglected earlier, especially women, artists of color, and artists from parts of the world other than Europe and North America.  The Haitian artist Hervé Telemaque adds to the understanding of Pop Art as an international phenomenon, and the Pakistani artist Rasheed Araeen expands the definition of Minimalism.  In the first gallery devoted to Abstract Expressionism, the viewer is greeted by Pollock, deKooning, and David Smith – but also by Grace Hartigan, Helen Frankenthaler, Pat Pasloff, Lee Krasner, Isamu Noguchi and Beauford Delaney: four women, a Japanese-American, and an African-American.  The matrix of art history is loosened, media are no longer separated (photography or film almost omnipresent), and masterpieces are de-emphasized in favor of a more searching exposition of the human imagination and the range of expressive solutions. The lock-step march of isms has been replaced by a meandering and discursive path.  Ironically, in many instances, it is also an arrangement that fosters a situation of clear visibility – that is, a hang that makes the masterwork heroes more heroic, enhancing their aesthetic impact, while giving the supporting cast members larger roles.  Picasso’s 1907 Demoiselles D’Avignon is juxtaposed with Faith Ringgold’s image of racial conflict, American People Series #20, executed in 1968. Ringgold’s image references Picasso’s Guernica, and the label asserts that the comparison intensifies “the questions Demoiselles raises about representations of women, power and cultural difference.”  Success!  Demoiselles acquires added complexity and the Ringgold competes very well indeed next to the early Cubist breakthrough painting. 

Best of all, one-third of the MOMA galleries will be re-hung or shifted around every six months, which means a complete re-hang every 18 months.

Another model installation is the new Islamic Gallery at the British Museum, opened in the fall of 2018, which celebrates the way in which Islamic artifacts of all kinds match form to decoration. Even humble clay water filters feature elaborate geometric piercings. The uses of calligraphy, the arabesque interweaving of plant and animal forms, the multiple elaborations of geometric patterns – all are presented with a clarity that surpasses the earlier, rival Islamic art installations at the Louvre and the Met in New York. The lowest levels of the cases have ancient Persian animal figures to engage children, and there are a variety of please-touch items supervised by a museum educator at a low table. And, to add to the pleasure of the Gallery, when I visited there was an adjacent halal café with grilled figs and a spectacular lavender honey tart.

The smartest installations are often the ones in which curatorial responsibility is turned over to the artists. At the National Museum of Scotland in Edinburgh some ancient Pict and Celt artifacts are installed against backgrounds devised by the artist Andy Goldsworthy – mud, pieces of slate and, most effectively, wooden sticks to set off the 600 B.C.E. Ballachulish figure, an Iron Age fertility figure or goddess. 

Which brings us back to Louisville and Southern Indiana.  Three recently opened galleries have ambitious programs and intriguing spaces which lend well to very satisfactory viewing spaces. Quappi Projects at 517 East Market Street in Louisville has high ceilings, excellent lighting and elegant proportions.  The Moremen Gallery, on the second floor at 517 East Market Street, makes excellent use of the former glass walled offices and conference rooms for modestly scaled one-person shows. The Kleinhelter Gallery at 701 East 8th Street, New Albany (Indiana), is housed in a 19th Century brick building that offers the option of hanging on plain or brick walls. The loser in the newer gallery sweepstakes is the collection-rich Filson Historical Society (Louisville), which did not allow for adequate exhibit space in its recent expansion. The primary galleries are cramped, awkwardly lit, and require a staff member to accompany visitors who wish to visit the exhibitions.

Installation View, Tales from the Turf: The Kentucky Horse, 1825-1950. (1590)

More intriguing in terms of installation is the contrast between the current exhibitions at the Speed Art Museum and KMAC (Kentucky Museum of Art and Craft). At the Speed, Tales from the Turf: The Kentucky Horse, 1825-1950 has a whopping 162 works on view, at least 140 of which depict the equine stars of the race course and breeding industry.  The majority are extracted from Kentucky  collections.  From a museum-strategy point of view, the subject gave the Speed an excuse for access to Bluegrass holdings that would otherwise remain behind closed doors. 

Documentary but also laden with a romanticizing self-regard, the carefully delineated champions’ confirmations are emblems of the horse owners’ prestige:  the nobility of the animals imply by extension their owners’ lofty status.  Artists were partners in the thoroughbred and saddlebred businesses, and the story is told with panache in Tales from the Turf.  In addition to paintings there are prints, silver trophies, artists’ tools, a map of the Bluegrass, a circular pedigree diagram, an example of the actual purse that was presented to a winner in the 19th Century, and a bronze masterpiece of a jockey and rider by the art moderne sculptor Wilhelm Hunt Diederich, who employed a simplifying cubist geometrification.

The introduction to the show includes three paintings by the greatest 20th Century equestrian painter, Sir Alfred Munnings.   In Going Out at Epsom from 1929-1930, Munnings’s alla prima brushwork, especially in the clouds that surmount the scene, complements the energy, excitement and nervousness before a race.  The three Munnings paintings are real zingers, and placement opposite the entrance to the show provides an upbeat introduction.  The gallery-goer is then carried along by six different wall colors, from pale to dark blue, and a sequence of mauve-eggplant hues.  Wall texts, wall text illustrations, varied rhythms of spacing of pictures on the wall, and the piped in sound of clopping horses’ hooves – all keep attention at a high level despite the show’s repetitiveness.  There are also some great curatorial mysteries to be solved, for example, the detection of an American horse altered to appear to be English. In Edmund Troye, the show has a major master whose place in the pantheon of great American painters needs to be more widely acknowledged. The show concludes with three newsreels of Kentucky Derby races from the 1940s. 

A complete contrast is the KMAC installation of “Picasso: From Antibes to Louisville.” It is remarkably understated. The walls are off-white, the pictures are lined up with little variation, and labels are remote, printed out on plasticized sheets. The show consists of three galleries, a timeline, a video about the founder of the Musée Picasso in Antibes, France, and photographs of Picasso at work by Michel Sima.  The first gallery has a reproduction of Picasso’s 1946 Joy of Life, a painting which shows Picasso in a playful, relaxed mood after the horrors of the war years.  The rest of the gallery is devoted to preliminary studies for the Joy of Life, and still lifes from the same year. In this period Picasso was visiting Matisse every two weeks, and the interchange with the older master is apparent.  Picasso, as he had done repeatedly throughout his career, took on the mantle of classicism: the spare graphite studies are of a centaur and several fauns, many playing the regional duale double barreled flute. They are accompanied in the studies by extraordinarily zaftig nymphs with ballooning breasts.  But these mythological fantasy drawings are not easily dismissed on sexist grounds:  Picasso’s lyrical line and the taut compression of his contours imply acrobatic vitality and a division of space that activates every sheet.  

Installation View: “Picasso: From Antibes to Louisville”, KMAC Museum

A second gallery has a selection from Picasso’s Vollard Suite, installed in a flat-footed manner, eight vertical prints followed by eight horizontals. Turn the corner and there is Picasso’s portrait of the maestro art dealer Ambroise Vollard, who commissioned the suite that preoccupied the Spaniard from 1931 to 1937. Picasso makes his viewers complicit in his male gaze: we are voyeurs witnessing the gaze of the middle-aged males in the prints.  The linear contours of the female nudes in these prints have their clearest precedents in Greek vase painting. Sexuality, death, aggression, evil and innocence are some of Picasso’s themes: in effect, Picasso addresses the tissue of human relations, love and antagonism, with classicizing men and women, horses and Minotaurs.  Blind Minotaur Guided through a Starry Night by Marie-Thérèse with a Pigeon, aquatint, drypoint, and engraving, executed in 1934-1935, encompasses the emotional extremes Picasso invested in the Minotaur, symbolizing lasciviousness but also guilt; violence but also despair.  

Installation View: “Picasso: From Antibes to Louisville”, KMAC Museum

The last gallery is reached from a corridor with a very informal Picasso timeline, a nice contrast to the buttoned-up installation of the rest of the show.  A selection of prints done between 1952 and 1956 demonstrate Picasso’s experimental approach to printmaking and include lithographs, silkscreen and aquatint.

So ultimately does installation matter? In the case of the Picasso show at KMAC, the underplayed arrangement is a plus, allowing black and white drawings and prints to command center stage.  The curatorial problem remains: how do you make the work of art mean more? How do you make the work of art more present and more accessible?  How do you sustain attention?  Each exhibition and each exhibition space demand different solutions.

Tales from the Turf: the Kentucky Horse, 1825-1950 , Speed Art Museum, 2035 South Third St., Louisville, KY, 40208.  Closes March 1st.

Picasso: From Antibes to Louisville, KMAC Museum, 715 West Main St., Louisville, KY, 40202.  Closes March 22nd.

Arts

It Just Kinda Dawned on Us

..and the sun keeps comin’ up…

This venture has been a long and healthy haul – and now our future is even more robust. When we (my Co-Publishers Tom Martin, Art Shechet and I) first launched UnderMain in 2014, we were simply having fun. We enjoyed uncovering what we thought was hidden in the shadows or living under the main thoroughfares of the then-present consciousness of art and culture in our region.

That was the way this all started: With caffeine and laughter, many morning meetings turned to their adjacent afternoons full of new ideas. Sitting at the same table at Le Matin Bakery, one Wednesday after the next, we came up with the title of our ad-free, visually rich digital magazine: UnderMain. We decided then that its primary mission would be to shine a light on artists, writers, gallerists, creative spaces and ideas, collectors, curators, and critics who work hard everyday and struggle to be heard and seen.

I am not sure why we were searching the darkened spaces or if we just felt there was not enough visibility in print publications, but no matter – because now we’ve flipped the switch in this little digital space. Whether it was passion, fatigue, frustration, ideation, or the simply act of creating, we had it and found enough of it mirrored in you to thrive all these years.

So, as your UMPrez, I am delighted to announce that UnderMain has received a three-year commitment from the Great Meadows Foundation (GMF) to continue our programming.

It should be noted that the generosity of the Great Meadows Foundation is supported by a near equal match of anonymous donations and in-kind contributions from so many. The writing, management, coordination, editing, curation of our content is brought to you by an undying commitment from our contributors and editors, many of whom work in an entirely philanthropic manner. Together we have remained consistent and fresh over the last five years and, with this three-year commitment, all that we have done means all the more there is to do.

As I elaborated in our proposal to the Great Meadows Foundation, UnderMain must now move beyond our light-and-shadows naiveté into a more prominent place of advancing the level of discourse in Kentucky about visual art and culture. These three programs are at the heart of that effort:

Studio Visit Series 

In 2014, we ventured out and into area artists’ studios. I was privileged to write and publish a few of those first visits  (“Ron Isaacs: Shelf Life”and “Dark Dualities: David Kenton Kring”) and now I spend more time connecting writers with artists and publishing their stories. There comes with that a certain reward, a specific joy in connecting two individuals who learn from one another as these writers and artists did: Keith Banner visits Michael Goodlett and Jim Fields visits Skylar Smith. Jim’s own words might say it best:

I began writing exclusively for UnderMain three years ago with a primary focus on artists, their work and what inspires them. For me, ‘the blank page is both exhilarating and intimidating and, like creating a work of art, writing is a process that requires both vision and revision. It is about making certain choices, being aware of various connections, and synthesizing information in order to give my ideas shape and meaning. Working with artists in their studio settings requires implicit mutual confidence and trust, with equal vulnerability, and being ever mindful to not be blinded by the obvious. I am honored to have been selected as one of the writers to participate in Under-Main’s Studio Visits Series under the auspices of The Great Meadows Foundation. While I am grateful for the stipend I received, my real reward for writing ‘A Studio Visit with Skylar Smith: Her Story’ came from the artist herself when she emailed me shortly after the article was published: “You gave voice to things I have not been able to articulate, yet resonate for me—thank you for this.”

In 2019, with our first funding commitment from the GMF, our focus has narrowed to Kentucky artists and we have thus far published eight studio visits, those above and the following: Miles Turner visits Mia Cinelli, Emily Elizabeth Goodman visits Melissa Vandenberg, Hunter Kissel visits Harry Sanchez, Jr. , Miriam Keinle visits Lori Larusso, Sso-Rha Kang visits Carlos Gamez De Francisco, and Natalie Weis visits Vian Sora.

Upcoming is a visit by the Speed Museum’s Miranda Lash with Louisville artist John Brooks, Paul Michael Brown’s visit with Lexington artist Robert Beatty, and Cooper Gibson’s visit with James Lyons.

In 2020, UnderMain will organize thirteen studio visits with Kentucky artists and our writers will not only be paid a stipend for their work, but – at the request of Sso-Rha Kang – I have included a small amount for travel expenses as I have always tried to connect artist and writer from different areas of this region.

Critical Mass Symposium

In 2016, we launched the Critical Mass Series, a symposium intended to advance critical thinking in the arts and promote further discussion about Kentucky’s position as it relates to the broader art community.

Critical Mass I  took place in 2016 at the University of Kentucky Art Museum and was moderated by Stuart Horodner. Then in 2018, we followed that with Critical Mass II at KMAC with Joey Yates moderating – fully intending the symposium as a biennial. The discussions however, generated such enthusiasm that it led us to rethink that idea – and in 2019 Matt Distel of The Carnegie in Covington held Critical Mass III.

Critical Mass IV is being planned for March of 202o and will feature the GMF Critic-in-Residence Koan Jeff Baysa.  So, please watch our site for upcoming details.

Critical Reviews of Local Exhibitions 

Since inception, we have held this as one of our highest priorities and, at year end, we are encouraged by the impact these reviews have had. They have exposed the curatorial work of many institutions in Kentucky and the Central Kentucky region, including: The Moreman Gallery and KMAC in Louisville; 21c Museum Hotel, Mary Rezny Gallery, Institute 193, and the University of Kentucky Art Museum in Lexington; the Solway Gallery in Cincinnati, Ohio; and the Kleinhelter Gallery in New Albany, Indiana.

Engaging critical writing from both within and outside of our state has helped to advance the level of critical discourse about contemporary art and its role in defining our regional identity. With the support of the Great Meadows Foundation, UnderMain will increase the publication of these reviews to twenty per year with an increase in pay to our writers.

Thanks to all who support our endeavor. The UnderMain concept is growing, and with new programming like UMRadio – a recurring feature of the weekly program Eastern Standard on WEKU, a local NPR station, and UMDingers, a surprise treat coming in 2020 – we continue to aim higher. And, when that big ball hits the top, we’ll move into the dawn of the dusk knowing full well how to light the way.

Arts

Scattered Seeds: the First KMAC Triennial

The inaugural KMAC Triennial features twenty artists who live or have roots in the state of Kentucky. Selected by jury from a pool of over 200 applicants, the variety of work attests to the vitality of creative practice currently happening in or loosely stemming from the state, but stops short of defining or locating any thematic or conceptual lenses through which to understand the state of contemporary Kentucky art. 

The show uses the title Crown of Rays, referring to a particular genus of the Goldenrod, the state flower of Kentucky. The gallery text makes allusions to ceremonial headwear and deifying haloes tied to the flower as well as pollination and ecology, using the flower’s botanical and symbolic properties as what curator Joey Yates sees as an elastic concept for grouping such a diverse array of artists and practices. Sadly, an image of the flower appears nowhere in the galleries, either as a visual reference point or botanical metaphor, severing any coalescing work the title could perform and leaving the disparate selection of artworks to each stand on their own with little conceptual or formal connections between them. 

Philis Alvic, ‘City Windows’, woven collage, 72″ x 42″ x 3″, 2012

Philis Alvic, ‘Vienna Window’, woven collage, 69″ x 42″ x 7″, 2012

Fortunately, there are a number of strong pieces in the show, particularly those that engage with the museum’s historical engagement in craft, but with the contemporary art sensibility KMAC currently pursues. Philis Alvic’s handwoven panels evoke windows from all over the world, creating a tension between the accumulation of pattern and fabrics on a rich, tactile surface and the illusionistic picture plane. Hunter Stamps’ ceramic pieces, which hug columns, seep out from walls, sink into the floor, or plop down as undignified specimens on a hospital gurney, similarly make process and craft evident through their surfaces and biomorphic forms, while at the same time viscerally alluding to open wounds and sores on the body. 

Hunter Stamps, ‘Utterance’, 2019, Ceramic sculpture

Installation View, KMAC Triennial with floor sculptures by Melissa Vandenberg (foreground) and Mary Carothers (middle ground). Multiple works by Rachel Frank (background). Photo credit: Ted Wathen

On another floor, different craft traditions coalesce into compelling installations. Rachel Frank’s tabletop display of stoneware, video, and plant assemblages against the backdrop of her hanging fiber and beadwork Pattern for a Yurt III (2016) makes the most explicit reference to Kentucky ecologies in the show (albeit sans Goldenrod) through new and old media. Melissa Vandenberg’s Shed (2019) alludes to the animal world through multiple genealogies of craft, featuring two sets of intertwined, snakelike legs reminiscent of Sarah Lucas’ work. These forms appear to be molting an aging and deteriorating quilt as they sprawl across the second-floor gallery space, capped with boot-shaped glass components completed during the artist’s residency at the Corning Museum of Glass. 

Vinhay Keo, ‘Kissing Kissinger’ (Portrait of a Nobel Peace Prize Winner), 2019, Acrylic paint, photograph. Photo credit: Ted Wathen.

Not wanting to be limited by an at-times parochializing focus on traditional craft forms, the jury chose a selection of artists spanning a number of different media. Two conceptual works that traverse the stairwell of the vertically-oriented museum’s three gallery floors best realize the potential of KMAC’s space, though perhaps at the expense of working formally or conceptually with the other works in the show. Vinhay Keo’s Kissing Kissinger (Portrait of a Nobel Peace Prize Winner) (2019) entails a photographic portrait of Kissinger from 1973 surrounded by a sea of individual red body prints of the artist’s lips. Running down a wall that cuts through the gallery’s main floors and fading just before hitting the floor, the sea of lip stains produce a performative, punning, and queer re-reading of Kissinger’s name while also darkly alluding to the millions of Cambodian lives lost or displaced due to the former Secretary of State’s policies. Complementing Keo’s installation is a site-specific sound piece by Aaron Rosenblum, High, Low, and In Between (2019). Merging pure tones with urban and rural field recordings, these sounds move up and down speakers set throughout the open stairwells and resonate throughout the gallery spaces. 

The geographic push and pull generated by the two site-specific works in the stairwell carries throughout most of the show, but without much rhyme or reason. On the second floor, dizzyingly complex conceptual black and white photography of the KMAC gallery spaces by Casey James Wilson lies between Sean Satrowitze’s somewhat ideologically muddy installation of a proposed funerary ritual for the decapitation or removal of Confederate monuments in the region and Vian Sora’s Max Ernst-inspired abstract paintings responding to the artist’s traumatic experiences in her native Baghdad. From the hyper-local to the geopolitical, and the coldly conceptual to the intensely internal, these works benefit little from proximity to each other, and possibly need more conceptual room to breathe (particularly Starowitz’s, which would benefit from further research and a socially-engaged public component).

In the following room, Elizabeth Mesa-Gaido’s assemblages and prints juxtapose the playful forms and textures of piñatas with images from revolutionary Cuba and toiletries and essentials commonly unavailable on the island, where her family has roots. Complementing Mesa-Gaido’s meditation on need and abundance through mass-produced commodities are Lori Larusso’s sign-painted still-life installation Pastiche of Good Intentions (2019) and Kristin Richards’s Donald Judd-inspired vats of a rainbow of Dawn dishwashing soap that sit oddly atop a paneled wood staircase, a work that similarly needs some air, possibly as two components in a larger installation.

Next to this gallery are perhaps the show’s two biggest misses: a horizontal installation of Jimmy Angelina’s pop culture-inspired black and white drawings, which work much better in the coloring book form available in the KMAC gift shop, and the only primarily moving image-based work in the show, Sarah Lasley’s Totality (2019), a kitschy panorama of dramatic National Park scenery overlaid with individual karaoke singers belting different songs in street clothes. Lost in the shuffle are Andrew Cozzens’ interactive and conceptual meditation on art consumption and forms of biological and cultural extinction, which is unfortunately tucked away in a rear gallery and was not functioning when I visited, and Harry Sanchez, Jr.’s compelling prints of families torn apart at the U.S.-Mexico border, a work whose urgent tone and direct politics are effective but feel out of place with the other works in the show.

Biennials (and by extension triennials) are tricky, but they have come to dominate the contemporary art world in the past three decades, for better or for worse. Spreading out from former art world centers in order to keep pace with an increasingly globalized world and afford smaller cities—like many in this region—the chance to elevate their artists or local creative economies onto a higher and more visible platform, these recurring exhibitions ideally function as barometers of the contemporary art world. More often than not, however, they merely add to the noise. The KMAC Triennial, with its small size and (somewhat) regional roster, departs from the sprawling city-wide scale and superstar artist list of Front in Cleveland or FotoFocus in Cincinnati, smartly focusing on artists who the curator and jury feel deserve a broader platform. Once raised on this platform, however, the artists seem to be each belting their own tune, echoing the confusing soundscape of Lasley’s video and retreating to the dangerously forgettable form of the open call, juried group show. 

Lacking a thematic consistency or coherent dialogue among the works, I wonder about the show’s ability to present these artists to new audiences, which, in the end should be the goal of evoking the biennial format. As an inaugural event, the 2019 KMAC Triennial shows great promise in its ability to attract and showcase important work by artists with ties to Kentucky, though those ties are at times weak. With a clearer concept and focus, either through the selection of work or roster of artists, hopefully future versions will advance beyond merely shedding light on important practices in the region. My hope is that future iterations of the triennial will not only showcase artists but ignite important discussions and generate lenses through which to understand their work, or—ideally—prompt us to re-imagine the broader contemporary art landscape entirely.

About the Author: Annie Dell’Aria is Assistant Professor of Art History at Miami University in Oxford, Ohio. Her research concerns the intersection of contemporary art, moving image media, and public space. Her writings have appeared in Afterimage: Journal of Media Arts and Cultural CriticismInternational Journal of Performing Arts and Digital MediaPublic Art DialogueMoving Image Review and Art Journal (MIRAJ)Millennium Film Journal, and other venues. She is currently working on her book, The Moving Image as Public Art: Sidewalk Spectators and City Screens.