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 never thought I’d have 4 opening receptions in one week. All group shows. And, one in Norway. But, I’m impressed still.
Tuesday night, the show that I coordinate for the Berwick Art Association opened at the Berwick Public Library, Berwick, Maine. The show is 46 pieces strong, and includes 20 artists from around the region including: Beth Wittenberg, Christine Kfoury, Anne Vaughan, Bob Farrell, Jean Coughlin, Erika Carty, Rita Fuller, Christy Bruna, Michael Bramlett, Laura Tuininga, Gloria Houlne, Eric Pomorski, Roseann Meserve, Daryl-Ann Dartt Hurst, Jane Lissner, Lee Copp, Gene Galipeau, Tom Gillis, Ruth Bleau, Bruce Bacon.
Turn-out was light, but we had a good time! And, it is a great show. It will be up through March 27.
Thursday, I was part of an opening in Moss, Norway. I am not going to import Facebook or Twitter images here. It was a benefit, and I was happy to donate a piece-and it’s cool to say I have been shown in Norway!
Friday, was crazy. I am done with openings…until next Friday.
The Gallery at 100 Market Street is an important place for me to show for a spectrum of reasons. And, this was my 5th appearance on these walls. I have two small pieces on the 4th floor that I didn’t shoot for the blog. This was not my most impressive appearance, but there are more to come.
The show was filled with gems, as usual. I will have to go back to shoot more, because what I shot last night was awful.
The BUOY in Kittery, Maine hosts an aRtPM Challenge annually where the only restriction for inclusion to this show is it has to have been created within the month of February. I included “Muzykzny” last year, even though the sides were still slightly wet. This year, a piece called “Valentine” graces their walls. She’s the faceless watercolor to the bottom left.
“Valentine” at BUOY
I saw a ton of other people’s art today.
Don’t underestimate this area!
The Portrait series, or as they have come to be called, “The Personal Storms”, have evolved onto handmade paper. There are also bits of collage in this piece.
It will be on display at BUOY, Kittery, Maine through April. The opening reception for the show is this Friday, March 13, from 6-?
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.
This is one of the smaller ones of the new “Meez” series to date, but demonstrate how this is partly catharsis to me, as I am sure it is to most AE painters. I think I have been slightly influenced by my friend, Beth Wittenberg, and her books and her series called “Buildings, Beasts and Storms” with some of the recent introspective painting/portraits.
The larger ones include:
Of course, that friend has also offered that I should have features on these faces, so that conversation will continue, too. I like them as anonymous females that any female can embrace as them. But, mostly, they are me.
“Modigliani’s Mistress” really wasn’t supposed to be anything more than another of my oil/oil pastel abstracts. But, the initial lines, turned on-end created the shape of a Modigliani portrait.
She has perpetuated a series of “portraits” that I am calling the Meez series. Not direct self-portraits, but drawn from me, and they are all female.
Art for me has to be a constant learning process.
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.
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?