Group Exhibition: Gisela Colon, Jeff Colson, Brad Howe, Heather Gwen Martin, Hugo McCloud, Ruth Pastine, Matt Wedel, Patrick Wilson
Who introduced abstract painting to Western culture? Today, Kandinsky is given credit as the father of abstract painting as early as 1910, with first a watercolor, then on canvas, but he had a manifesto in which he wrote about abstraction in 1909. Personally, I think abstraction will be in our art vocabulary for years to come, synonymous with words like cubism, impressionism and realism. David Klein Gallery has an exhibition of eight artists from various parts of the country that opened March 18, 2017, representing both paintings and sculptures. On the Road: American Abstraction, surveys artists from other parts of the country, providing the Detroit audience with abstract sensibilities on both the east and west coast, as well as work from the Midwest.
The work that grabbed most of my attention was the large red field abstraction by native Californian Hugo McCloud, who now lives and works in Brooklyn, New York. The horizontal diptych fuses unconventional materials, along with woodblock printing, where he creates a rich surface that reflects a type of urban decay. The rich surface contains a large variety of under painting both in terms of shape and color. Self-taught with a background in industrial design, he says in a statement to artnet, “All of my work is kind of process oriented. When I had a desire to go into the fine art realm,” he explained, “I didn’t really have an understanding of how to work on canvas or use brushes and traditional art making tools. That wasn’t really my foundation.” McCloud stretches his canvas out on the floor, sanding, marking, all driven intuitively by his desire to explore and uncover his personal aesthetic.
On the other end of the abstract spectrum is the work of Gisela Colon, raised in Puerto Rico where she completed her undergraduate work at the University of Puerto Rico, and her JD from Southwestern University of Law, in Los Angles where she now resides. Her earlier work was acrylic over wood constructions, painted with an automotive lacquer, but here in this piece at the David Klein Gallery Irregular Rectangle Glo-Pod she has turned to the technique of blow-molding that uses sheets of colored acrylic. She calls that and subsequent pieces made without the use of paint ‘Glo-Pods’ due to what she deemed “a breakthrough in my use of materials that generated an internal self-generated glo without the use of paint.”Her work has been connected to the work of west coast artists interested in the properties of light and the nature of perception. To this writer, these sculptural objects have a focus that draws on the writings by Donald Judd and Robert Irwin from the 1960s. These ideas may have set up this minimalist approach to creating objects as sculptural reliefs using properties of light, technological elements and reductive forms that, in this case, attach themselves to the wall. The non-specific objects hover between painting a sculpture where light is emitted from within, creating a very contemporary piece of artwork designed to please.
These abstract planes take me back to Tony Smith, allied with the minimalist school, where he worked with simple geometrical forms combined on a three-dimensional grid, creating drama through simplicity and scale. Created by artist Brad Howe, from Stanford University, these relatively small folds of stainless steel are impeccably constructed with effort and thought, providing simple form and color with attention drawn to their edges.
Howe says, “If we are to engage in the project of self-edification, the evolution of self, the enterprise is tied to our imagination. As Richard Rorty indicates, imagination is bound by our vocabulary, and it is in the growth of vocabulary we should focus. Vocabulary is tied to experience, and it is in energized moments of exposure to strangeness that our vocabulary expands. Encountering strangeness stretches and expands our self-image and seeds the rich potential for our collective conversations.”
Given the amount of concern that sculptors give to scale, these pieces feel like models waiting to be fabricated forty times larger than these tabletop sizes.
In its second gallery space, the David Klein Gallery provides an intimate collection of works on paper that includes lithographs, woodcuts and etchings. Of particular note is Alison Saar’s hand-tinted paper etching, Janus, that provides an image depicting the two worlds of the same woman, one existing in severe pain, the other in solitude. The expression may resonate with many people, women and men alike who find life to have its existence varied in a dichotomy of emotions. Saar says, “It was really poignant to me, this idea that a work of art could, somehow, turn a page, or shed a light, or lead back to a source. And that’s one of the things that’s exciting about being an artist; that your work threads people to other places, and not necessarily in straight lines.”
A native of Los Angles, Alison Saar’s work is primarily figurative, often female, in various emotional states or physical expressiveness. She seems to find symbolic richness in found objects, often with a narrative that offers a metaphoric view of life’s possibilities.
The David Klein Gallery has a long history of representing a collection of Detroit artists living and working in the Detroit Metro area. In contrast, On the Road: American Abstraction, Christine Schefman, Director of Contemporary Art, draws on artists who are represented by galleries from New York to Los Angeles, providing thought on some new experience and provoking exposure to the Detroit art community.
David Klein Gallery March 19 – April 22, 2017