Category: Paintings Page 9 of 48

Installation Cranbrook Art Museum, James Benjamin Franklin, Full Circle, 2022

In the color-saturated, exuberant and irregularly shaped paintings of James Benjamin Franklin’s solo show Full Circle, humble and often degraded fiber elements of domestic detritus are transformed by all means necessary into improbably beautiful contrivances for seeing and being. With this exhibition of 11 recent artworks, on view until March 19, 2023 at the Cranbrook Art Museum,  he has returned—full circle–to the campus where he earned an MFA in 2017 for his first solo museum show. A West Coast native now living and working in Detroit, Franklin has absorbed the influence of the city’s surfaces and structures and has now transformed those raw materials into a lush visual feast.

Aim, 2022, acrylic, fabric, plaster, sand, epoxy on extruded polystyrene, 82.5” x 79” x 3.25 photo: K.A. Letts

The paradox at the center of Franklin’s art practice is that he achieves these sumptuous effects while using the humblest of lowbrow materials. The artist creates his own eccentrically configured grounds from extruded epoxy and foam core, a process that takes several days and yields a flat shallow receptacle with raised edges. It’s a fictive playground of sorts for his highly idiosyncratic painted inventions. Into this sandbox-sized tray go thrift store fabrics, IKEA finds, blankets, bits of carpet, rugs and bathmats that form the underlying physical basis for the paintings. He also seems to have a particular affinity for crocheted afghans, lace doilies and other hand-crafted bric-a-brac. Next comes the audacious improvisational application of paint and glitter and sand and plaster in color combinations that vary considerably from artwork to artwork.

The resulting paintings balance esthetic refinement with the effect of a precocious child’s craft project. It’s evident that this is fully intended. “I needed to achieve the playfulness which was sitting at the back of my head,” Franklin said in a recent interview with Bomb magazine. “I want to get lost and get a sense of either joy or mystery in the work and all the materials that are used and just kind of all the things that are unexpected and surprising.”  Franklin credits the gritty urban environment of Detroit and a certain local DIY mentality for inspiration and he specifically cites the influence of the Dabls Mbad African Bead Museum.

We have the sense that as the artist continues to explore his improvised methods, he has become more confident in the capacity of his materials to convey the intended effect.  The paintings have become diaphanous and translucent, and the constituent parts are allowed to retain their identity while contributing to Franklin’s overall project.

Rise, 2022, acrylic, fabric, plaster, sand, glitter, and epoxy on extruded polystyrene, 5” x 79” x 3.25” photo: K.A. Letts

This is an artist who is willing to take risks, to experiment, and to trust his process and his vision. His painting, Rise, is emblematic of this self confidence.  Franklin depends on the physical roughness of the dimensional lacy fabrics to provide the formal substructure for a particularly offbeat composition. Dominated by the diamond shape in the lower, slightly left-of-center quadrant of the painting, Franklin softens its intrusive presence with varied shades of acid yellows and muddy pinks, plus a judicious sprinkling of metallic glitter. He has changed the orientation of the tray throughout the creative process, sometimes using gravity to move the paint and in other instances allowing the colors to puddle. Swooping yellow and green linear curves at the top quarter of the composition allow the irregular movement of the exterior shape to make inroads.  The spidery lace patterning at the top of the painting comes to the perceptual foreground while other elements are submerged by inchoate blobs of pigment. There is nothing programmatic; this process feels entirely intuitive.

Every visitor will have their own favorites among the paintings in this exhibition.  I was particularly charmed by his painting Be, where Franklin has allowed the native colors of the yellow and orange 1970s zigzag afghan at the top of the picture to participate in the interplay of the constituent elements, while sunny lines created by dry brushing carry an implied landscape across the imaginary horizon. Thickly applied blue glitter makes a starry lake at the bottom of painting. The whole thing seems both incredible and inevitable.

Be, 2022, acrylic, fabric, sand, glitter, epoxy on extruded polystyrene, 82.25” x 80” x 3.25” photo: K.A. Letts

Of course, this level of risk-taking can go wrong, and in Accord, Franklin’s experimentation with framed voids in the interior of the painting seem, to me at least, to be unsuccessful, as they stop the flow of the composition at awkward points. But Franklin’s chance-y explorations more often meet with consistent, lightning-in-a-bottle success.

Every painting in Full Circle has its own idiosyncrasies and difficult-to-quantify virtues, as well as its own internal color-logic. They share procedural and material elements, but through careful examination, we discover that each artwork represents a singular dialog between the artist’s imagination and his medium. There is a courting of potential surprise–and even disaster–in each one, yet time after time Franklin successfully produces exhilarating paintings that surprise and delight.

Retain, 2022, acrylic fabric, plaster, sand and epoxy on extruded polystyrene photo: K.A. Letts

Full Circle: James Benjamin Franklin @ Cranbrook Art Museum, through March 19, 2023

Installation view of Robert Sestok: Space and Time at Detroit’s Simone DeSousa Gallery through Dec. 17.

Many Detroiters may associate Cass Corridor veteran Robert Sestok most with his towering steel assemblages, simultaneously daunting and mesmerizing, found around downtown and Midtown as well as at his City Sculpture Park. But with Robert Sestok: Space and Time at the Simone DeSousa Gallery, the 2017 Kresge Artist Fellow reminds us that in addition to being a large-form sculptor, he’s also an adroit painter perfectly willing to break form and startle his audience.

Space and Time, up through Dec. 17, speaks to both talents. Your first impression on entering might be one of technicolor roadmaps, given the belts of strongly colored “brick paths” barreling across the three Origins canvases in the first gallery. It’s all a bit hallucinogenic. Picture the Yellow Brick Road on acid and you’re halfway there. Contributing to the visual drama is that these are big pieces – in the neighborhood of 11 feet by nine feet – and our view is seemingly from high above, as if peering down on three incredibly complex, colorful LA freeway interchanges superimposed on gray backgrounds covered with thin, dreamy dribblings of paint.

Robert Sestok, Origin #3, 2022, Acrylic on canvas, 108 x 144 x 2 inches. (Courtesy Simone DeSousa Gallery.)

“This work reaches back to my early murals at the Duffy Company,” Sestok said, referring to the interior and exterior murals he created in 1971 at the behest of James Duffy, the collector and art patron who owned the warehouse at West Jefferson and Junction that housed his family’s steel-pipe business. (Duffy would later bequeath his outstanding Cass Corridor collection to Wayne State University.)

“When you walked in,” Sestok said of the warehouse, now leveled for the Gordy Howe International Bridge to Canada, “you’d see this huge pile of heavy steel pipes — and down the wall you’d see a mural of the pipes floating in space.”

The floating pipes were painted on concrete-block walls, and Sestok used the horizontal grout lines as a sort of hard-edged framing device for his lyrical circles. And there you can see the genesis, perhaps, of the bold linear stripes in Origins, underlining the artist’s habit of circling back to work made decades ago, pulling out old ideas and making them new again.

“I kind of shocked myself,” Sestok said. “I didn’t realize at first I was repeating something I’d done a long time ago. It just came out of me.”

Interior of the former Edward W. Duffy Co. steel-pipe warehouse near Fort Wayne, with Robert Sestok’s 1971 mural on the far wall. (Courtesy of the artist)

Sestok, who grew up in Birmingham, got his very first Detroit studio in 1967 with Gordon Newton in the Old Convention Hall near Wayne State University, a building that also housed other Corridor artists like John Egner, Michael Luchs, Brenda Goodman and Jim Chatelain. For his part, Sestok quickly developed a reputation for productivity – or, as critic Dennis A. Nawrocki’s put it in Essay’d, “the prime protagonist of the indefatigable do-it-yourself Detroit work ethic.”

(A good example of that ethic is Sestok’s one-man City Sculpture Park with about 30 works that went up in 2015 at the John Lodge Freeway Service Drive North and Alexandrine in Detroit, and came down in 2020. It was a striking gift to the city; those who’ve mourned its disappearance will be happy to learn that it’s been relocated a couple miles away to 3573 Farnsworth, just west of Mt. Elliott.)

Playing the role of midwife to the Cass Corridor movement was the formerly depressed neighborhood along Cass Avenue south of Wayne State – the sort of urban streetscape in the Sixties and Seventies where nervous suburbanites punched the gas pedal. In those years, the Corridor attracted dozens of young, artistic rebels with a collective attraction towards the gritty and the raw, and a bent for exploiting the city’s treasure trove of industrial detritus.

In spotlighting the work of this rowdy cohort, the movement’s principal exhibition space – the  Willis Gallery (where Avalon International Breads is today) — drew serious attention from Sam Wagstaff, curator of contemporary art at the Detroit Institute of Arts, as well as coastal art elites, who started paying attention to the Motor City for the first time in decades. (Indeed, there are some, Sestok included, who argue the Corridor represents the only actual artistic movement the city’s ever generated.)

“The art was kind of fast and furious,” Sestok told The Detroit News in an interview 10 years ago, “with people in competition with each other to get their work in the gallery and have a show. It was an exciting time.”

Robert Sestok, Origin #1, 2022 Acrylic on canvas 132 x 111 x 2 inches. (Courtesy Simone DeSousa Gallery)

 “Fast and furious” isn’t a bad description for Origins Nos. 1-3, cited above, all of which are three-step constructions. First Sestok poured and pushed (in some cases with a leaf-blower) thick gray paint to form the substructure, with a second layer of colorful, whimsical dribblings enlivening the surface. On top of that composition, and blotting out most of it, he laid down the severe, multicolored geometric pathways.

Intriguingly, the simply titled Origin in the gallery’s back room inverts this hierarchy. Here the geometric checkerboard is overlaid with thin, circular vortices and a drizzled white line that meanders, taking its time, all across the canvas. In some ways it’d be interesting to see Origin installed between two of the front-room pieces, rather than segregating it. The contrast in aesthetics, and the clear inversion in design, would be bracing.

Robert Sestok, Origin, 2022 Acrylic on canvas, 63 x 53 x 2 inches. (Courtesy Simone DeSousa Gallery)

 Completing the show are several works, somewhat smaller than the exclamation points in the first gallery, that also lean heavily on geometry, but in a completely different fashion. Origins Nos. 4-6 feature something like gridworks of colored squares and rectangles – sharp and exact, as if cut into the white backgrounds with an X-Acto knife.

They are, it must be said, in many ways quite beautiful. “Yeah,” said Sestok, “if you can get away from the wallpaper idea.”

Robert Sestok, Origin #6, 2022, Acrylic on canvas, 63 x 53 x 2 inches. (Courtesy Simone DeSousa Gallery)

 Robert Sestok: Space and Time will be up through Dec. 17 at Detroit’s Simone DeSousa Gallery.

Opening night reception for “Semillas” at Playground Detroit, October 22, 2023. Photo by John Sippel

Human beings are a storytelling species–it’s how we make sense of the world. In his solo exhibition “Semillas,” now at Playground Detroit until November 19, Ivan Montoya has painted an idealized origin story as he tries to make sense of his adopted country while also preserving ties to his Hispanic cultural heritage. Based on early memories of his birthplace in Chihuahua, Mexico, and his immigrant childhood in the U.S., the paintings in “Semillas” tell a story of transition and displacement, loss and possibility.

The exhibition title is inspired by the Spanish proverb “hoy semillas, mañana flores,” which can be translated “seeds today, flowers tomorrow.”

That Montoya is aware of the provisional nature of the story he is telling is evident in the storybook quality of the 17 paintings in the exhibition.  Along two walls of the gallery, he has strung together several of his artworks in an implied narrative, each sequence bookended by decorative floral panels as if they are the covers of some mysterious folk tale. The paintings, while presented in a line that suggests a series of events, are stand-alone images that might be disjointed childhood memories or mythical scenarios drawn from dreams.

Ivan Montoya, Setting of the Altar, 2022, acrylic on birch panel, 24” x 36” photo courtesy of the artist and Playground Detroit

One row of paintings includes Setting of the Altar, among others, and seems to center on scenes of more-or-less harmonious community life.  The compositions are bathed in warm colors that give an idyllic air to the timeless Edenic visions. Montoya avoids placing the scenes within a recognizable time and place—they are once-upon-a-time visions that are no place and every place, but they exist in the artist’s imagination most of all.

Ivan Montoya, Inciter, 2022, acrylic on birch panel, 24” x 24” photo by K.A. Letts

The warm, late afternoon light of Montoya’s family-centered paintings gives way to mysterious nocturnal illumination in another loosely narrative series on the opposite wall of the gallery. Once again framed by floral panels, this line of images takes us in a different, more archetypal direction. Inciter and Guardian, a pair of paintings that depict two single but related figures set among the pillars of what appears to be a monumental temple structure at night, imply–but don’t insist–on a story. The Inciter is an impish trickster character, caught in the act of spilling and breaking, all energy and mischief.  The companion painting, Guardian, is occupied by a tired-looking maternal figure wearily cleaning up Inciter’s mess. Like the two paintings flanking it, the central painting, Latchkey, features two masked, child-like figures that convey an air of playful mystery.

Ivan Montoya, Guardian, 2022, acrylic on birch panel, 24” x 24” photo by K.A. Letts

The painting that most clearly references the immigrant experience is found in Paladarium, where a man and woman carry a large glass vessel through a snowy landscape. Two axolotls are contained within. The axolotl is a species of salamander native to Mexico, but which these days is mostly native to research labs, its native habitat having been degraded by urban development and climate change. The species is known for its almost miraculous ability to regenerate damaged limbs, as well as for the fact that it has both lungs and gills. Legend has it that the salamander represents the Aztec god of fire and lightning, and clearly it (along with the jaguar) has significance for Montoya as a metaphor for his dual identity as an immigrant and an American. He explains, “My immigration definitely is something I drew from for this [painting], but more specifically I intend to shed light on the hope behind relocating or changing environments. Paladarium refers to a tank that replicates the biome in which reptiles and amphibians live. This piece references the fact that some creatures only grow as large as the environment that they live in allows them to. Which is essentially many immigrants’ purpose for emigrating.”

Ivan Montoya, Descanso (Rest), 2022 acrylic on birch panel, 24” x 36” photo courtesy of the artist and Playground Detroit

Montoya paints in a straightforward figurative style, with surfaces that are signboard matte on wood panels. No obvious painterly flourishes mediate our experience of the light-filled compositions rendered in saturated colors. The pictorial space of each painting is often filled and activated by two or more stocky figures drawn in a manner reminiscent of mid-twentieth-century Mexican painters like Diego Rivera or Jose Clemente Orozco. Like these artists, Montoya delivers a strong sense of the 3-dimensionality of the figures in his compositions, and there is often an underlying archetypal subtext. But where Montoya’s artistic forebears draw inspiration from the political upheavals of their time, Montoya’s preoccupation is with a more personal journey.

“Semillas” gallery installation, photo courtesy of the artist and Playground Detroit

The artist credits an eclectic group of Mexican artists as further influences in the development of his style. The surrealist painter Rufino Tamayo, the expressionist Jorge Gonzalez Camarena and the academically trained Saturnino Herràn have all influenced his work in subtle ways. He pays particular attention to Rufino Tamayo’s surreal, earthy humanist themes and the idiosyncratic style that sets him apart from the more political work of his contemporaries. Montoya has studied, too, the pre-Hispanic motifs and reliefs found in Mayan or Aztec culture, combining all these influences in pursuit of an authentic Mexican-American cultural identity.

In his debut solo show at Playground Detroit, Ivan Montoya has clearly mapped out his path toward a worldview and an art practice that makes space for mystery and spirituality while allowing scope for both his American experience and his Hispanic heritage. Whether he is rendering the warm light of a late afternoon in an orchard or moonlight shining on a luminous sea, this hybrid way of being becomes ever more clear in the artist’s work.  Perhaps Montoya says it best:

“My cultural identity is the core of what I am trying to understand and make peace with. I’ve grown up in two worlds and I don’t always feel like I belong to one or the other too firmly. So to me, understanding how I’ve been molded by both is super important to how I communicate and create especially because of how many other people feel like I do.”

“Semillas,” gallery installation, preview dinner, photo courtesy of the artist and Playground Detroit

Playground Detroit presents Ivan Montoya’s solo exhibition “Semillas,” now on display until November 19, 2022.