We have made really great strides since I was asked to join the Curatorial Committee last June. Huge strides!!
Almost two weeks ago, I assisted in the relocation of some of the permanent exhibit from a storage locker to the Community Center in Rochester, New Hampshire. Amy Regan, Matt Wyatt and I also changed the shows at the Goodwin Library, in Farmington, NH and the the Rochester City Hall, in Rochester, NH.
This week we announced our Short Film series which will show at the Rochester Opera House next month.
Benjamin Cook goes up in the Carnegie Gallery in the Rochester Library tomorrow.
And, tomorrow I am among the jurors for the International Biennial 2015. That will be hung in the Carnegie Gallery in June.
More to come!!
So, as a young buck, I sucked up the intellectualism that surrounded me. I embraced “Concept” (with a capital “C”) very tightly. But, hey, I was in LA.
Almost 30 years since I left my home town, I have faced an exhibit that seems so totally out of context, and yet, right on my fingertips and so ready to be here. Carly Glovinski is the cause, and 3S is the platform.
“Huh? Ok? And, why”. I am not really intrigued any more by this work than the work I came “of age” with- NOW. I totally get it. But, again I grew up in LA.
But, my fundamental question in all of this is the question of process. There is little “human” presence in this work-foibles and mistakes aren’t noticeable. Let’s revisit concept and Larry Bell. Laddie Dill and all those folks that had artworks built for them. So, I am dealing with process…why? Because I have gotten older and I have been here for 30 years.
I believe Glovinski actually fabricates her own work. Cleanly, and well.
She defines space, and forces her audience to recognize that space. She made me explain to friends why a large floor piece does not allow a piece on the wall. The show made me explain the value of scale.
Eva Hesse did much with a floor. And,I see that here, as well. But, I think the best thing about this show is she doesn’t stick exclusively to one perameter-determiner, but actually strikes out to say, “Yeah, but?”
But, the fun thing with this show is we see more modes of expression. “Evolving Coast” a wood book on a lawn chair says I’m not about space and minimalism. Once again challenging the viewer to scratch their heads.
And, as artists, we do get to make people do that.
Part III. Beyond Process
The best work I have ever seen was created by Ed Kienholz for making people rethink their space. And, change behavior.
It really doesn’t take some of the methods being used in some of the most controversial art from last year. It really doesn’t take vulgarity, profanity, or even sex.
One of my recent personal favorite artists whom I am very honored and privileged to show with is Rick Burns. He has shown work at Blackbird Studio and Gallery that also asks people to participate. He doesn’t take over a floor space, but he asks for thought, and gets it.
He doesn’t necessarily question space, but he does create work that invites the viewer to also be a participant in his work, and change it.
This piece invited the viewer/participant to tighten/loosen the bolts. And, many did, begging again the question of “Who is the artist?
I’ll continue to call myself one, but I think we need to give more credit to our audience.
And, I am sure I will continue with this subject.
The next couple of months will be very big for the visual arts in the area. Events are starting to overlap, and I can only be in so many places at once!!
This is my contribution to artwork offerings.
I hope all can attend!
I was trying to post daily, and I got really good at posting something…
and then this last period happened…
so, here I am again, to show off today, and the opening reception at the Gafney.
I loved today. A perfect flow where everything actually made sense. Huh?
I delivered 2 pieces to the Gallery at 100 Market, and the curator was there early, knowing I needed to be in Sanbornville at 9:30. Amazingly, I got to the Gafney much earlier than I expected. So, the food display was artful, too.
My compadre, Steffanie Antonio was there right after 10. That really set the pace for the reception! Anne and Niles showed up not 10 minutes later…
As Anne Vaughan wanted a real tour, I needed to break for a whole new set of arrivals. I am waiting for the rest of the images that other people shot today, because once things got rolling, I “lost” my camera.
Amy Regan, who is one of the founders of the Rochester Museum of Fine Art came and we discussed not only some of my art-making history, but also some of the mechanics of this show, and how I work.
I guess for some, putting together a show this size might be a retro…for me, the oldest piece in the show is September of 2013. About 40 of the 49 pieces on display are from 2014.
It will be up through next Saturday-check for the library hours on their website.
I wanted to document Neptune, except Nemo from two years ago seemed more exciting. So, been there…
My only excuse for not writing is the number of shows I am preparing for has kept me at the easel, and that’s not a bad excuse, but there is much to catch up on.
The Gallery at 100 Market was a huge focus of the week. Since all of my big recent work is in Sanbornville, I spent most of last weekend and the early part of the week finishing, shooting, and getting the submission ready for that deadline.
She took two pieces, no question.
We had a major conversation about the newest work because it’s large, and as much as she wanted it, she needed to really look at space. Ah, the fine art of curation, and since I show at 100 Market regularly, and I want to show the Meez portraits together…we came to a mutual agreement that these would work for this show, and the rest can wait.
I am hoping at some point to get a featured slot there, because this is a great alternative space.
There has been a deterioration of the “Art Around Town” circuit since 3 Graces closed. That was a sad day for many of us. But it was nice to see Kim Ferreira’s “Jackalopes” at Nahcotta tonight-a pleasant reminder that the reason why she closed her gallery was to devote more time to her art.
The decision to venture out tonight was because I am a fan, follower, and friend of Jeannie Griffin-Peterka, and I am proud to say she was my nomination for her solo at the r.mfa. I needed to see this show. I support my artist friends and I love to see their new work. Her show was at Zev, the opening was 6.
“Art Around Town” starts at 5, and I was in town shortly after. I stuck my head in Kennedy Studios, took a peak and wandered down to Nahcotta. Fair warning-wear great snow footwear. Yikes! Walking was an interesting task!
Nahcotta’s “Enormous Tiny Art-Winter, Show #17” was a really nice change from what they had up last week, which really felt like…this is what we had in the backroom, with no cohesion at all…but we needed something on the walls. I know from having been in enough galleries in the last 38 years, that happens. January is a peculiar month. So, no fault to the gallery for that :).
There is some great work in this show, and based on the red-dots, the show is being well-received. I particularly liked Amanda Kavanaughs’ pieces and Kate Todaro “L3 to the Red Line” series.
I cheated with the camera, because I noticed another person writing and capturing images on his phone. We actually ended up having a conversation about the show, and about what he felt was redeeming, etc. I did think it was fun to be not the only one doing this and Marc and I also shared some “big city” thoughts on the way art is reviewed.
From Nahcotta, I ice skated (not literally, but close), to Zev. Jeannie was just taking her boots off at the door (it’s a yoga studio) when I walked in. I am a personal comrade, so all I am going to say here is “see this show”. All of her work is fairly large acrylic on canvas. Her work is remarkable and some day I will own this piece:
There are small details in this painting that she doesn’t always include that I like. This piece almost feels like a cityscape, which grounds it, and I think that’s a quality that I am responding too, as well.
So, I am home and warm and expecting more snow, and then…more snow…with more snow. Perfect painting weather.
I was given an opportunity to show as many as 60 pieces this month. I showed up with 49, and based on the images the curator sent me, that seems to have worked really well.
Since I also coordinate the shows for the Berwick Art Association, I needed to dash before the show was completely hung.
Here are some of the images that Peter sent down:
This is a great show, and demonstrates much of what I explored artistically last year.
The opening reception is from 10-12, February 21st. Hope to see you all!
So, I seem to be allowing myself to travel all kinds of “underground”material, stretching my limits like I hope all my art friends do.
There is a resolve in me that will not allow me to remain “safe”. This has been a piece that has pushed me and may not be finished long after “Modigliani’s Mistress” graces someone else’s walls. Why the metallic?
I have a large solo going up next week that includes work that came down on the 11th. It got wrapped and stacked in my studio/living room until Feb 1, when it gets delivered to the Gafney Library.
I am trying to get ready for the call for Gallery at 100 Market in Portsmouth, and I also have created a large number of watercolor/mixed media pieces on paper within the last few weeks.
As I was trying to cut foamcore and mats I realized that I have basically no room until this work goes north.
This defines dedication for an artist, I think. This is my living room. No real complaints (aside from I have run out of room), but I want to show the rest of the world that a lot of us don’t go to these gloriously naturally lit huge empty spaces to work. Many of us have spaces in our homes. In my case, my entire apartment is my studio-and that’s not the exception to the rule either!!
So, as I cut mats, stretch canvas, etc., I might also be moving furniture. Cutting down a full sheet of mat board on the floor might be a challenge tonight.
So, on this idea of working all of the media I ever have, exploring reaching new peaks, etc. I also understand how we have caves. These are places we are afraid of.
Personally, I am exposing light into those places for myself now and saying, “Really?”
The “Mind Canyons” show what I know, what I have become, where I am as an artist.
And, I am sticking my tongue out here, too!! I am on the rim, not in the bottom of that canyon. There are those that will also need to be ascended, but maybe they are a safe place to be. Might need a Topo there, too.