Category: Paintings Page 40 of 49

Thomas Berding, Command Tree, 44 X 48″, Oil on Canvas, 2013, Courtesy of Eli and Edythe Broad Art Museum Collection

Oakland University Art Gallery opened an exhibition, The Berding Memorandum, on September 15, 2016, with a collection of abstract expressionist work by Thomas Berdling, Professor of Studio Art at Michigan State University. His abstract expressionism has obliviously evolved over several years where earlier work has more reference to the real world, be it landscape or figures. While his work is not a literal translation, there is no mistake the paintings are a response to a particular situation, often referenced in work’s title. An example is the painting Command Tree, 2013, where you find a reference to an orange-yellow tree that comes forward dominating the composition over a re-shuffled landscape with background structures.

He says in an interview with Dick Goody, Director of the Oakland University Art Gallery, “While my paintings are not literal translations of the reference material I use, the paintings of the last five years have indeed been made in response to sources like the ones you intuitively feel are in the work. This includes the screen-based and two-dimensional schematic constructions that visualize this making and unmaking of the world, such as explosion views common in assembly manuals, flow charts, diagrammatic schemes, encrypted texts, among others.”

Thomas Berding, Breakage, Oil on Canvas, 70 X 76″, 2014 All Images Courtesy of Oakland University Art Gallery

Abstract Expressionism, born in the mid-1940s and lead the way for ten years as part of the New York City art scene, made a deep and lasting impression on artist Berding’s age group. It’s not hard to see the remnants of early Pollack, de Kooning, and color similarities with Matisse in Berding’s work. In the work Breakage, we experience a landscape that has a busy foreground, making way to a mid-ground of larger shapes, and upward to a sky with transparent building like shapes. His tools are less brush, and more palette knife and tape removed. Through out his work there is a unified effort to create a color feel, often a thematic color arrangement for a particular painting where a sense of mapping, charting or sorting is taking place.

Many historians feel the AE period was cut short as society sped towards change that was mirrored in daily life of the 1960’s and embraced Pop Art, Minimalism, and later conceptual art that thrived on installation. Looking back over the millennium, movements in art typically lasted longer, and this could be why artists of a certain age still want to explore the qualities they relate to in abstract work as if to say, the period wasn’t yet finished.

Thomas Berding, By Land and By Sea, Oil on Canvas, 70 X 76, 2008

With a palette dominated by green in Land and Sky, this abstraction seems to have an elevated point of view, as if the viewer is located high across the river overlooking the cityscape that leads to a horizon of buildings. The converging yellow shapes create an unreal type of perspective that takes the eye back towards the mid ground of complex color and shape. Richard Diebenkorn started out as a realistic artist, and gradually became an abstract painter that used the landscape in the 1950’s to create his Ocean Park series that depended deeply on his dependence with the local landscape. Here too, Berding give us his distinctively intense yet aloof rendition of his landscape experience, producing an ambiguous degree of abstraction that makes us wonder where he is going with this personal pandemonium?

Thomas Berding, Turning Tables, Oil, Acrylic, Flashe on Canvas, 24 X 24, 2016

In a gallery full of smaller square 24 X 24” work, we experience a work process that some would describe as studies. Here in Turning Tables, Berding gives us a painting that shares a sensibility with Matisse, both in using shape and color. Because smaller work can move along faster, it might be that the artist is using this process to become more spontaneous and intuitive with his internal tools. It’s as if he has said to himself; I need to loosen up and work a bit faster, at least conceptually and see where it goes?

Thomas Berding, born in Cincinnati, Ohio and received his MFA from the Rhode Island School of Design, has been recognized with awards from the National Endowment for the Arts, Pollack-Krasner Foundation, and over his career has exhibited in many venues through out the mid-west. He has obviously been educated and influenced by modernism with its reductive style, drawn to abstraction, resulting in a personal narrative that expresses a kind of controlled explosion of color and shape. For those living in the Metro Detroit area, the OUAG provides their students, and us with a fresh experience in the abstract expressionistic work of Thomas Berding.

Oakland University Art Gallery

George N’Namdi stands next to work by Detroit artist, Charles McGee, Noah’s Ark # 8, 60 X 45 1984

George N’Namdi opened the current exhibition, 35 Years in celebration of all the N’Namdi galleries since 1981, when he opened his first gallery, Jazzonia, on Harmonie Park in downtown Detroit. I remember that location because the Detroit Artist Market was on Randolph street and myself, and many friends were part of those DAM exhibitions. This exhibition features works collected by George N’Namdi before and after 1981, which includes over 40 artists spanning many genres and mediums.

Educator and art dealer, George R. N’Namdi was born September 12, 1946, in Columbus, Ohio. He attended Columbus East High School in 1965 and went on to graduated from Ohio State University in 1970, before obtaining his Ph.D. in psychology from the University of Michigan in 1974. This exhibition brings together a small selection of work that has been represented in the gallery for a span of near forty years.

Chakiaia Booker, Industrialization, 50 X 59 X 15, 1980

Known for her sculpture made from rubber, and her wearable sculptures, Chakaia Booker was one of the artists supported and exhibited by George N’Namdi in the early eighties. Her work “Echoes in Black, ” was accepted into the Whitney Biennial in 2000.  The successful artist exhibits her work at the June Kelly Gallery in New York City and has work in the collection of the Metropolitan Museum of Art.

Gerald Jackson, Island People, Mixed Media, 84 X 108, 1985

Born in Chicago, Gerald Jackson gained notice when his work was included in two influential 1970s exhibitions–the 1970 Afro-American Artists: New York and Boston at the Museum of the National Center of Afro-American Artists, Boston, and the 1971 Black Artists: Two Generations at the Newark Museum.  Jackson’s Island People is a figurative expressionist work from 1985 where the work outline of figures overlaps within a flatten picture plane.

Sam Gilliam, 71X 98 X10, Trade Mark, Mixed Media on Canvas-Aluminum, 1994

Sam Gilliam, the African American artists, who was born in the south, eventually spent his life in Washington DC, where he taught painting at the Maryland Institute College of Art, and at Carnegie Mellon University. Known for his color fieldwork, and a lyrical kind of abstraction, he often worked with shaped canvas and was early to move away from using stretcher bars for his canvases.  In the1980s Gilliam’s style changed dramatically to quilted paintings reminiscent of African patchwork quilts from his childhood. In his statement he says, “Only when making the work can I determine the many languages that form the planes on which it is to exist. Like abstract phrases the many intentions of the work (before an audience) passes through an intuitive sieve… The work was not planned, there are ploys, to the way it was laid out and then put together.”

Alvin Loving, Dreams of Amorous, 61 X 51, 1998

Al Loving (1935–2005) was an Abstract Expressionist painter, and one of the few African American artists recognized for his contributions to the movement.  Born and raised in Detroit, he was known for his geometric work using bright color and hard-edge line in his arrangement of cubes and rectangles. Loving receive his BFA from the University of Illinois in 1963, and then his MFA from the University of Michigan in 1965, and soon after moved to New York City.  In 1968, he had a solo exhibition at the Whitney Museum.

The N’Namdi Collection is one of the finest private collections of African-American art in the United States and combines works covering more than a century of art in many genres.  As demonstrated in this exhibition, there as been a commitment by George N’Namdi to the contributions of African art and the discourse surrounding contemporary art in the United States.  Looking ahead, N’Namdi said “We are putting together an investment team for restaurants and galleries to create a gallery district on Grand River around Rosa Parks.  All this development that is taking place downtown will ultimately begin to spread into our neighborhoods.”

The N’Namdi Center for Contemporary Art

With it’s commercial focus, David Klein Gallery present work that, at times, places a higher value on aesthetics than challenging the dominant paradigm—but a trio of solo exhibits, which opened on Saturday, September 17, 2016 collectively present a playful push and pull around the subject of gender roles and interpersonal relationships.

Derick Melander, Night Sky, 2016, Folded clothing, wood and steel, 48 x 48 x 6 inches All images Courtesy of Sarah Rose Sharp

Welcoming viewers is a front window display by Derick Melander, working in the typically female-dominated realm of folded laundry. Melander’s meticulous towers and tableaus, rendered in compressed and expertly folded garments, are not only visually pleasing, but carry an intense allure for anyone with OCD aesthetics. Night Sky (2016), on the lefthand side of the gallery’s entryway, goes so far as to depict a Van Gogh-like scene, with the fold lines, punctuated by tight rolls of concentric garments, echoing the swirling brushstrokes of one of the late painter’s most popular works, The Starry Night (1889). Other works present more abstract chroma-towers, that create ombre fades through hundreds of stacked garments, resembling soft core samples or geologic strata.

Kelly Reemtsen, Presentation, 2016, Oil on panel, 44 x 44 inches

With the gentleman handling the laundry, the gallery’s main room makes way for the ladies of Kelly Reemtsen’s “Over It.” The series is thematically tight, featuring three to five foot oil paintings of women in party dresses, standing on ladders or chairs, and wielding tools. Her subjects are largely generic, depicted from the shoulders, waist, or knees down, wearing lavish skirts and dresses and high heels that evoke a sense of 1950s housewife pageantry. They clutch their tools—sledgehammers, axes, shears, and chainsaws—with calm determination, or trail them coquettishly behind their backs. Already balanced in their frivolous footwear, they seem stable atop footstools and chairs, even kicking back one flirtatious foot off an A-frame ladder in Social Climber (2016). These are not women dressed for the occasion of home demolition or tree removal, and therefore the implication is a little more sinister—as the title would suggest, Reemtsen’s subjects are fed up, and preparing to take some kind of action. This clash of girly accessorizing and a hint of violence is echoed in Reemtsen’s Fuck the System sculptures (Siren Red, Frosted Pink, and Hot Pink, respectively), which feature Oldenburg-scale tubes of lipstick in stainless steel with a dazzling chrome effect, their contents stubbed out onto their pedestals like discarded cigarettes.

Kelly Reemtsen, installation view

Even the finish of Reemtsen’s paintings warp the edges of gendered labor; the artist manages to administer a thick veneer of stucco to the background of the paintings that would impress the most seasoned contractor. When one considers the language of labor, it is striking to realize that there are gender-coded words for what amounts to the same action—ask a man what “detailing” a car actually means, and he will be forced to admit that it is “cleaning.” The control and appeal that Reemtsen achieves in her identity-neutral portraits mirrors the restraint and artifice that is the daily work of presenting a polished, female-coded facade to the world, and it is heartening to see that women are generally expressing the sentiment that they have had enough of it.

Kelly Reemtsen, Slammed, 2016, Oil on panel, 60 x 36 inches

All this gender-bending veers into the abstract world of feelings as we progress to the heart of the gallery, where Emmy Bright’s “Why Don’t You Want This?” rounds out the show. Bright presents a collection of silkscreen prints on paper and newsprint, that playfully juxtapose words, sketched out images, and fields of color. These works successfully leverage simple wordplay and open-ended diagrams to create a surprising depth of meaning; Bright is acutely sensitive to the workings of the heart, and manages to spin out a collection that reflects a kind of emotional complexity belied by their visual simplicity.

Emmy Bright, Tragedies of Desire (Black & White), 2016, Silkscreen on paper (edition of 5 + 2 AP), 25 x 29 inches

Having created this visual lexicon of emotional placeholders, Bright goes a few steps further with the creation of More Stupids: A Tarot. This small edition tarot deck, featuring Bright’s prints as 44 oversized tarot cards with an accompanying book of interpretations, aims to shuffle and deal these fundamental feelings into readable form. Never one to leave her viewer hanging, Bright spent a week following the opening performing scheduled art card tarot readings, where visitors were treated to an emotional forecasting by Bright, or her alter-ego, Dr. Ladybear. The tarot deck collects highlights from Brights “Three Stupids Practice,” a daily process wherein she goes to the studio and makes “three things that are stupid and wrong in some significant way.” As her gallery guide states: “If they are good, they are also right in another significant way.”

An assistant lays out selections from More Stupids: A Tarot during opening night

In fact, Emmy Bright has it very right, and her sometimes-poignant, sometimes-funny, and exceedingly gentle explorations of emotion provided a beautiful counterpoint to the spirit-draining world outside the gallery walls. If these three artists can take joy in the mundane, draw the line at oppressive categorization, and open their hearts to the possibility of connection, perhaps they can inspire us all to do the same.

David Klein Gallery

Brienza, Bruner, Galbreath, and Carmen-Vian make drawings that engage

Artists, Sue Carmen-Vian, Joyce Brienzia, Coco Bruner, Lynn Galbreath Image Courtesy of Jeff Cancelosi

Drawing has been around for a while. Think: Lascaux cave in Dordogne, France. And drawing is one of the major forms of expression, concerned with the making of lines, tonal areas, black and white or color, representational or abstract, the work in DRAWN TOGETHER is a strong exhibition, curated by Joyce Brienza. She says, “We are a group of artists and friends who have in common an interest in the idea of drawing as end point rather than merely a preparatory act. We are in love with drawing as a direct, no tech and un-electronic media. We see the pencil in some ways as an instrument of nostalgia, recalling the Renaissance quest for virtuosity. Our work ranges from narrative to abstraction but there is a conceptual bent towards popular culture that questions the separation of fine and applied arts.”

Joyce Brenzia, Mixed media on Paper, 28″ x 22″

Joyce Brienza’s work, Given Name ll, is a colorful mixture of images that seem to have the feminine as a theme with overlapping figure and design elements. The compositional construction provides the audience with her artful dexterity with the human anatomy. She says, “In dreams and memories fragments are all we have to make up the whole. I work with images the way a DJ samples music to create my own brand of visual hip hop. By employing a collage technique, the works are constructed of layered and juxtaposed elements drawn from multiple sources that possess a particular personal and/or social significance. Among these sources are still life objects, toys, atomic structures, old master works, family photographs etc. This re-contextualization of images is a conduit for the generation of new meanings.” Her patterns are critical elements set within a grid that tell a story which resonates with the viewer. The work is both personal, and societal.

Coco Bruner, Rhymes with Silence, Charcoal and Conte crayon , 30 X 22 – 2015

Coco Bruner’s work, here embellished in Rhymes with Silence, includes a variety of media, in which she manipulates the illusion of space and light. She includes both spontaneous and calculated gestures, while presenting an unconventional composition dominated by this large black circular shape. She says, “Each drawing begins with as spontaneous a gesture as possible. What follows is navigation between control and impulse, the known and unknown. It’s a bit like hitchhiking. You take a risk, not knowing where you’ll arrive, but you’ll probably learn something.” These rather pure abstractions present a sense of mystery that have no definable meaning. An MFA graduate from the School of the Art Institute of Chicago, and recipient of a Kresge Visual Arts Fellowship in 2013, Bruner works in drawing, painting, sculpture and photography.

Pony Boy, Graphite and gold leaf on Paper, 60″ x 50″

Here in her drawing Pony Boy, Lynn Galbreath juxtaposes a realistic rendering of two toy pistols against a background of line drawing and creates a young boy’s world filled with imagery and costume. She says in her statement, “I am born to create and cannot function on a daily basis without making something. I create to communicate. To me, art is the conversation we’ve been having since the beginning of time, the one that’s always probing the human condition.” In this drawing, it is the scale that works so well. If it were 8 X 11″, it would feel more like an illustration. Given its size 22 X 40″, the power of scale makes the work stronger, which is not always the case. These toy objects are rendered with such contrast and detail, they take on a life of their own.

Sue Carmen-Vian, Way Out, 34 x 42 Graphite on Paper, 2016

In her work, Way Out, Sue Carmen-Vian, an MFA graduate from Wayne State University, provides a collection of stylized Van Gogh-like drawings that introduces her audience to a figurative type of surrealism that is personal and at times autobiographic. At a distance, these heavy black and white pencil drawings can have a woodcut feeling with her textural markings. In her statement she says, “The challenge of retirement from teaching is to continue to feel useful. As this part of my life fades my art has become more defined and developed. These drawings contain costumes and props from my on going performance art and teaching days.” On her way out in her new canoe, she seems to be navigating between herself on the right, standing up straight and balanced, versus herself hanging upside down in a quandary. I am sure, since she’s in charge of the canoe, everything will turn out just fine.

On September 9, the first Friday of the new fall 2016 season, there were six openings in Detroit (perhaps more). As I visited each, it wasn’t until I ended up at the Scarab Club that I experienced a loud and joyful community of artists, friends and family, who all had relationships with these four artists. If you’re a painter or a sculptor, it is likely that drawing is at the core of your work. We can look back in history and see the preliminary drawings made by Michelangelo, da Vinci and Rembrandt. Certainly, as demonstrated by these four artists, drawing as an art form is alive and well in history and present in Detroit. The Scarab Club, under the leadership or Treena Flannery Ericson, is the perfect home for DRAWN TOGETHER.

August 31-October 15, 2016
, 7-10 pm
 Gallery Talk: Saturday, September 24, 2 pm

Scarab Club