Nick Doyle @ Reyes / Finn

A series of works using denim constructions on the wall and mechanical miniature sculptures.

Nick Doyle, Reyes / Finn Gallery Installation, All images courtesy of DAR

On the coattails of Art Basel in Miami 2019, the Reyes / Finn gallery opens the new year with Nick Doyle’s work Paved Paradise. This conceptual revisit to pop art skillfully displays American iconography, both the denim works on the wall and moving miniature sculptures. Pop Art of the early 1960s was exemplified by an enlarged work on canvas of a Campbell’s soup can by the artist Andy Warhol and the term “pop art” was officially introduced in December 1962; the occasion was a “Symposium on Pop Art” organized by the Museum of Modern Art.

When the viewer enters the exhibition, acrylic on canvas is the first impression, but on closer examination, it’s cut and colored denim on board that realistically creates the illusion. There is the apparent cliché associated with denim, a kind of masculine Americana that embodies these objects. There is a mix of signage, painting of objects, and moving miniature sculptures that captivate the viewing audience.

Nick Doyle, The Time for Change is Now and No Vend, (diptych) Collaged Denim and Flashe on custom relief panel, 36 x 72 x 1.5″, 2019

He says in his statement, “My Practice is multidisciplinary and often employs sculpture, painting, mechanical motion, and video. I look to media, particularly film, television, and photography as a source of imagery. I think of visual media like a pop culture database full of narratives pertaining to the cultural moment. My interested lies in what these narratives have to say about us as a culture, and the permission these narratives allow us as individuals. I think of my work as part of the psychological landscape of media culture. The objects, videos and machines that I make hold the psychic energy of my experiences and life, and allow me a way to engage with a broader visual discussion. I use a lot of commonly found materials often found in local hardware stores. I recently started using a lot of denim.”

Nick Doyle, Executive Toy: Hit the Pavement, Denim, Steel, Brass, concrete, silica, bronze, and vintage Samsonite suitcase, 16.5 x 14 x 20″ 2019

In the Falling Man, the customized suitcase has a figure of a man suspended mid-background, and as the crank moves the windows downward, the illusion is created. This work has a sense of humor interjected described by the artist as a sense of darkness (jumping out a window) and lightness (it’s not a real person) that contribute to an emotional journey. Regardless of the artist’s intentions, the kinetic sculpture reflects a level of craftsmanship that is respectful, if not extraordinary.

Nick Doyle, Rolling Stone, Collage Denim and Flashe on custom relief panel, 38.5 x 23.25 x 1.5″, 2019

Nick Doyle, 1-800-COLLECT, Collaged Denim on custom relief panel, 49 x 24 x 1.5″, 2019

The two images of a package of cigarettes and a wallphone are conceptually pop art subjects, both in that, they enhance the scale of the object and are nostalgic in their intent. And that is not to say it is problematic, rather a matter of fact. As Landscape and Figure painting continue as a productive genre, why not Pop Art?

Nick Doyle, Kwik-Stop dan Executive Toy: Send in the Clown, 2019

Doyle works across various platforms and media.  In work, Kwik-Stop and Executive Toy: Send in the Clown, 2019 is what I would describe as an installation piece because it creates an environment that includes a small car, gas pump, soda drink, and various suitcases. It also serves to illustrate that his thinking is non-linear or confined to one medium of expression. Growing up in Los Angeles amongst the media mecca of the world drenched in a land of fruits and nuts where the language is streamlined in pop culture, it seems to fit nicely within the creative work of Doyles’ experience. In an interview, he says, “In Los Angeles, wealth, glamour, and fame were commonly flaunted and in certain ways gave me a grotesquely warped sense of success. There is an entire landscape of shame to traverse when comparing oneself to the class and social hierarchies not only embedded in LA’s culture but pop culture as well.”

Nick Doyle, Running on Empty, Collaged Denim on custom relief panel, 30 x 30 x 1.5″, 2019

This large circular gas gage, Running on Empty, reminds me of the Jackson Browne song released with the same name, in 1977, before Doyle was born but written at the height of the Pop Art era.  Contrary to the title, Nick Doyle’s tank is full.

Nick Doyle was born in Los Angeles, 1983, and now works and lives in Brooklyn, New York.  He earned a BFA from the San Francisco Art Institute and an MFA in sculpture from Hunter College, NY.

Nick Doyle @ Reyes / Finn runs through February 22, 2020

Art Basel Miami @ Detroit Art Review

Miami Art week, the mammoth fine art fair comprised of Art Basel Miami Beach plus twenty satellite fairs, events and parties, salted around the city like raisins in a fruitcake,  has just ended.   It was an all-you-can see buffet of contemporary art, much of it excellent. It’s impossible to see it all without developing a serious case of esthetic indigestion. But my project to see the art coming from the Great Lakes region, and Detroit in particular, made the task more manageable.

A string of fairs located in lavish oversize tents, Scope, Pulse, Untitled, Context and Art Miami, were lined up along the beach and interspersed with large public art works exposed to the sun and air.   Art Miami, at 30, which predates Art Basel and is the oldest and one of the most respected  fairs,  is where I found David Klein Gallery’s booth. This year, the gallery showcased a  collection of Detroit artists who will be familiar to anyone who’s been paying attention, as well as a couple of talented newcomers.

David Klein Booth at Art Miami, Photo by K.A. Letts 2019

Gallerist David Klein told me that the gallery opened its first booth at Art Miami 11 years ago, during the height of the Great Recession, and that they’ve been coming every year since.  The booth was anchored by Kelly Reemtsen’s monumental Rise Up.The warm Miami air seemed to billow the voluminous taffeta skirt of her genteel but assertive debutante, and the light in the heavy white  impasto surrounding the figure felt a little different on the beach in Miami than it had when I saw the piece in Detroit.

Rosalind Tallmadge and Marianna Olague, two recent graduates of Cranbrook Art Academy, were represented by David Klein in Miami this year. Klein described Cranbrook as “…a great resource for us. Rosalind we met when she was in the painting program [there] and Marianna Olague is also a very recent Cranbrook grad.” Artworks by the two seemed to respond to the ambient Florida sunshine, though in different ways.  Tallmadge’s formal mica, glass bead and metal leaf-encrusted artworks, which seem more the product of geology than of art, shimmered, while Marianna Olague’s self-contained and pensive young women occupied a pictorial space suffused with the warm light of her native El Paso.

Marianna Olague, Here Lies Toro, 2019, David Klein Gallery, Art Miami, 2019

Mario Moore, The Visit, 2019, David Klein Gallery, Art Miami, photo courtesy David Klein Gallery

David Klein Gallery has routinely shown the work of African American artists, but suddenly at Art Basel Miami Beach 2019, there was a notable increase in artists of color prominently displayed throughout all the fairs. Mario Moore’s large single-subject portraits were exactly on trend.  The self-possessed, casually dressed inhabitants in Moore’s paintings, situated comfortably in their everyday  environments, projected confidence and understated dignity.

The highest concentration of Detroit representation was at NADA (New Art Dealers Alliance), which bodes well for the future of the art scene in Detroit.  This fair shows work by up-and-coming galleries and artists (and famously provides a hunting ground for more established galleries hoping to poach promising young artists.) Held in the Ice Palace Studios, Nada’s relaxed atmosphere, with some artworks scattered around the grounds and hammocks and picnic blankets provided for physically exhausted and/or visually overstimulated fairgoers, was a welcome change from the more aggressively commercial fairs.

Detroit was represented in the main exhibitors’ section by Simone DeSousa Gallery and Reyes/Finn. And in the NADA Projects section–a sort of junior NADA–I encountered Detroit Presents, a collection of Islamic prayer rug-inspired collages by Anthony Giannini presented by Detroit Art Week.

This was the second year that that Simone DeSousa has represented artists at NADA. She chose to exhibit the work of two Detroit-based creatives, Veha Nedpathak and Iris Eichenberg. NedPathak’s richly colored, freeform process-derived paper tapestries, created by her self-invented ritualistic practice, contrasted nicely with Eichenberg’s light absorbing, idiosyncratic black objects.

Neha Vedpathak, So many stars in the sky some for me and some for them, 2018, Simone DeSousa Gallery, NADA (photo courtesy of Simone DeSousa Gallery)

Iris Eichenberg, Untitled, Simone DeSousa Gallery, NADA, photo by K.A. Letts

When I asked DeSousa about her plans for future art fairs, she pointed out that there is considerable expense involved in participating, but the Nada fair makes the most sense for the gallery, and so far it has proved to be a good showcase for the artists and for her. It’s likely that she will to present artists from her gallery there in future.

A more conceptual vibe prevailed at Reyes/Finn, where the frosty glow of Detroit-born Maya Stovall’s hermetic neon signs referred to year dates significant to the artist and referenced coincident meaningful cultural touchstones. These gnomic objects, though compelling in themselves, represent only a small portion of Stovall’s work in performance, installation and video. Co-exhibitor Nick Doyle celebrated common man-made objects raised to monumental scale–a giant wall outlet, a huge, discarded coffee cup–rendered in denim-blue, a color both common and cool.

Maya Stovall, 1959 from 1526 (NASDAQ:FAANG) series, 2019, photo by K.A. Letts

Nick Doyle, Shutter, 2019, Reyes/Finn Gallery, NADA, photo by K.A. Letts

The street art esthetic that is so prevalent in Detroit was noticeably absent from the established fairs, with the exception of Scope, where I saw a pair of Chicago galleries, Vertical and Line Dot Editions, that carried the flag for that way of thinking and making.   The Mana Wynwood neighborhood is the place to see that esthetic expressed. A lot of the art is on the street, and it’s rude and risky.  Some of the most impressive work that I saw in this vein wasn’t in a fair at all, but at Mana Contemporary, where Miami’s indigenous art community has a home. There, I saw work that hasn’t (yet) made it into the mainstream unless you count a small piece by Karl Wirsum that I glimpsed in the back room at Corbett vs. Dempsey in their Art Basel Miami Beach exhibit. And Detroit/Brooklyn-based SaveArtSpace.org  engaged in its usual end run around the establishment, with three street-side bus stop ads featuring the work of Chris Pyrate, Brian Cattelle and Peat “EYEZ” Wolleager.

Keya Tama, Love Trap, Mana Contemporary, Wynwood neighborhood, photo by K.A. Letts

Peat “EYEZ” Walleager, EYE Want You by, SaveArtSpace.org, (photo courtesy of SaveArtSpace.org)

A visit to Miami Art Week is probably the most efficient way to take the pulse of the art scene now, in all its diversity and variety, even though you may come away troubled, as I did. I found that the art world is just another part of the real world, where the .1 percent, by virtue of its vast resources, decides how art is defined and commodified. And lingering in the distance like a thundercloud is climate change, a looming presence that’s hard to ignore while looking at art on a vulnerable beach.

Miami Art Basel, December 2019

 

 

Detroit Collects @ Detroit Institute of Arts

Salvador Salort-Pons, Director of the Detroit Institute of Art, at the media preview introducing Detroit Collects.

Detroit Collects: Selections of African-American Art from Private Collections

I knew the DIA was working on an exhibition of African American Art that was scheduled to open in mid-November, 2019. Still, I did not know anything about the curation process. This exhibition of sixty works of art with a range of media is on loan and is comprised of nineteen local Detroit collectors. In all my experience, just the concept was interesting, intriguing and unique.

At the media preview, from the moment DIA Director Salvador Salort-Pons took the podium to introduce the exhibition, it was clear this project was personal.  He said,” When I became the director of the Detroit Institute of Arts (DIA), it was immediately clear to me that the museum needed to acknowledge an extraordinary effort to connect with these communities of art lovers, tell their stories and show in our galleries the fruit of their long-standing passion.”

Not since I bought my first DIA poster in 1972 of a traveling Matisse Exhibition had I ever seen or heard of a museum taking this approach to curating from local collectors. That morning, Director Salort-Pons talked about how he and his wife Alex, after many years of living outside the city, quickly recognized the need to connect and acknowledge the art by recognizing artists living in a  city community that was 80% African American. He mentioned a memory he had of the gatherings of artists and writers called “tertulias” which used to take place in the local cafes of Spain in the late 19th and early 20th century that were the cultural  engines of the time. Over the past three years, along with his curator, Valerie J. Mercer, the General Motors curator for African American art since 2000, they began to support and execute a new vision, drawn from the many dinners, breakfast meetings and lunches to identify artists and collectors of African American art in Detroit.

“The DIA’s General Motors Center for African American Art is the first curatorial department dedicated to African American art in the U.S.,” said Salort-Pons. “This exhibition builds on our history of collecting and displaying African American art and creates a new opportunity for our visitors to see themselves reflected in the museum’s galleries.”

Robert S. Duncanson, Flight of the Eagle, Oil on Canvas, 1856

The artist Robert S. Duncanson was prevented from any kind of formal art training because of the institutional racism that existed in the 19th century. Yet, this forested landscape, Flight of the Eagle, completed in 1856, could be compared to the work of William Mason Brown or Frederic Edwin Church. At the center a soaring eagle, the U.S. National bird, has flown from its mate on the branch of a dead tree. Duncanson was born in Seneca County, New York, in 1821 to an African-American mother and Scottish-Canadian father, who sent his son to Canadian schools during his youth. In 1841 Duncanson and his mother moved to Mt. Healthy, Ohio, near Cincinnati. His biography says that in 1849, Duncanson established a studio in Detroit where he had been active as early as 1846. His artistic activities were favorably noted in both Cincinnati and Detroit, where he worked throughout his career supported by abolitionists who commissioned his work. For the Detroit Collects exhibition, this work is on loan from the collection of Walter O. and Linda Evans.

Beauford Delaney, Greenwich Village, Oil on Canvas, 1945

Beauford Delaney was born December 30, 1901, in Knoxville, Tennessee where his parents were prominent and respected members of Knoxville’s African-American community. His father Samuel was both a barber and a Methodist minister, but he is remembered for his work with the Harlem Renaissance in the 1930s. In his work, Greenwich Village, Delaney depicts the illuminated streets of New York City’s Greenwich Village where the artist settled in the mid-1930s. Having a studio in Greenwich Village, he became part of a gay bohemian circle of friends. He established himself as part of the NYC art scene, which included artists such as Alfred Stieglitz, Georgia O’Keeffe, and the young writer James Baldwin. For the Detroit Collects exhibition, this work is on loan from the collection of Mary Anne and Eugene A. Gargaro Jr.

Walter J. Williams Jr., Children at Play, Oil on Canvas, 1975

Children at Play, by Walter J. Williams Jr., is a touching figure painting that conveys the innocence of childhood while boys play without a worry in the world. The composition contrasts six figures with soft and translucent oil paint colors while they explore the simplest of abstract shapes. The idyllic and peaceful setting draws the viewer into a place where everyone would want their child to live and learn. Williams enrolled at the Brooklyn Museum Art School in 1951, where he was scholarly and was said to have paid close attention to his lessons. In the summer of 1953, he studied at the Skowhegan School of Art in Maine and participated in his first major group show, the Whitney’s 1953 Annual Exhibition of Contemporary American Painting. For the Detroit Collects exhibition, this work is on loan from the collection of Darnell and Shirley A. Kaigler.

Alvin Loving, untitled Triptych, Oil and Collage on Canvas, 1981

Al Loving was born in Detroit in 1935 and is one of the best known national artist whose work grew from his interest in the work of Josef Albers. Loving earned a BFA from the University of Illinois at Urbana-Champaign in 1963 and an MFA from the University of Michigan, Ann Arbor.  In 1969, Loving famously became the first African-American to have a one-person show at the Whitney Museum of American Art. In the work Untitled Triptych, Loving’s abstraction knocks the viewer off their feet with this vast array of shape, line, color, and depth of space. I was familiar with much of Al Loving’s work, but not this magical triptych that keeps the viewer spellbound. For the Detroit Collects exhibition, this work is on loan from the collection of Roy and Maureen Roberts.

Martin Puryear, Reliqary, Gessoed Pine, 1980

Martin Puryear was born in 1941 in Washington, D.C., and began exploring traditional craft methods in his youth, making tools, boats, musical instruments and furniture. After receiving a B.A. in Fine Art from the Catholic University of America in 1963, Puryear spent two years as a Peace volunteer in Sierra Leone, where he learned local woodworking techniques. In the work Reliquary, one could see something spiritual as in a tombstone-like object made of pine planks with dovetail joints, but the field of holes covered in a translucent gesso coating suggests otherwise. Over his lifetime, this work has remained visibly complex, both organic and geometric, where he falls into both areas of Minimalism and Formalistic sculpture. Puryear earned his MFA from Yale and began teaching at Fisk University in Nashville and at the University of Maryland in College Park. In 1977, following a devastating fire in his Brooklyn studio, Puryear had a solo show at the Corcoran Gallery of Art in Washington, D.C. For the Detroit Collects exhibition, this work is on loan from the collection of Gayle and Andrew Camden.

Aaron F. Henderson, Stomp It Down, Gouache, 2015

Aaron F. Henderson, a native of Birmingham, Alabama, has been an artist all his life. The self-proclaimed narrative artist has always loved to draw and paint. He works mainly in oils and gouache on canvas, linen and 100% cotton paper using bold, vibrant colors in his artwork that is showcased in exhibits, museums and corporations and private homes around the world. Henderson’s style has been influenced by such legendary artists as Elizabeth Catlett, William H. Johnson, Charles White and Jacob Lawrence. The woman in Stomp It Down is so beautifully and realistically rendered that she seems to emerge from the paper. The work is part of a series that visualizes the spirituals sung by enslaved people of African descent as an act of defiance and self-expression. The song called “Stomp It Down” refers to the injustices that will be eradicated once freedom is achieved. For the Detroit Collects exhibition, this work is on loan from the collection of David and Linda Whitaker.

Hughie Lee-Smith, Girl Fleeing, Oil on Canvas, 1959

Hughie Lee-Smith was an African American artist and teacher whose surreal paintings often featured distant figures under vast skies and desolate urban settings. In 1958 Lee-Smith moved to New York City and taught at the Art Students League for 15 years.  Holland Cotter of the New York Times wrote, “Mr. Lee-Smith’s paintings usually have spare settings suggestive of theater stages or bleak urban or seaside landscapes. Walls stretch out under gray skies. Men and women, as lithe as dancers, seem frozen in place. Most are dressed in street clothes; some wear exotic masks. Children frequently appear, as do props reminiscent of circuses. The work has an air of mystery associated with the paintings of Giorgio and Edward Hopper.” In the painting Girl Fleeing, the young girl is escaping from the factory without explanation, reminiscent of the woman in Andrew Wyeth’s “Christina’s World.” For the Detroit Collects exhibition, this work is on loan from the collection of Jerome Watson and Deborah Ford.

Sam Gilliam, Wave Composition, Acrylic, 1979

Sam Gilliam was raised in Louisville, Kentucky, where he received his Bachelor of Arts degree from the University of Louisville in 1955, served in the Army from 1956-58, returned to Louisville, and completed his MFA in 1961. Gilliam has dramatically influenced the direction of American Art. He is particularly known for his innovation in draping the canvas stained with a large variety of colors providing a multidimensional and sculptural quality to the work. The work Wave Composition was created in 1979 as a study for a large drape painting commissioned for the Detroit Receiving Hospital, where it has been on display since 1980. In 1972 Sam Gillian became the first African American artist to represent the United States at the Venice Biennale, and in 2017, his work was included in its prestigious Central Pavilion. Sam Gillian lives and works in Washington D.C. For the Detroit Collects exhibition, this work is on loan from the collection of Jerome Watson and Deborah Ford.

Richard Mayhew, Transition II, Acrylic on Canvas, 2013

Richard Mayhew, born April 3, 1924, is an Afro-Native American landscape painter and arts educator. His abstract, brightly colored landscapes are informed by his experiences as an African American/Native American musician. He studied at the Art Students League of New York and later attended the Brooklyn Museum Art School. In his work,Transition, his fluorescent depictions of the American countryside tackle ideas surrounding African-American identity, jazz music and Abstract Expressionism. “Landscape has no space, no identity,” he once said. His body of work is based on his extensive travels throughout the United States, and he was notably a member of the black painters’ collective “Spiral,” which included other members such as Romare Bearden and Hale Woodruff.  For the Detroit Collects exhibition, this work is on loan from the collection of Lorna Thomas, M.D.

Mario Moore, Mom Says I’m Her Sun, Oil on Copper, 2015

The youngest artist in the Detroit Collects exhibition is Mario Moore with his painting Mom Says. Moore is a source of pride for the Detroit art community and is represented by the David Klein Gallery. His mother is Sabrina Nelson, a long-time studio teacher at the Detroit Institute of Arts, where Moore has been surrounded by the Detroit African American art community for most of his life. He earned his BFA from CCS and his MFA from Yale University and for a figurative artist there is an extraordinary quality about not only his technical ability but his choice of subjects. Recently Moore has spent his time as a Hodder Fellow at Princeton University, depicting large-scale paintings of black men and women who work around the campus in blue-collar jobs. When I think about the work of Mario Moore, there is a message of social justice that reminds me of Kehinde Wiley, who addresses the issue of inequality in the selection of the figurative subjects in paintings of the past.  For the Detroit Collects exhibition, this work is on loan from the collection of David and Linda Whitaker.

The are many other institutions that have contributed to the development and exhibitions of artists with African American roots. The Charles H. Wright Museum of African American History was founded in 1965 to explore and celebrate African American Art, History, and Culture. The N’Namdi Center for Contemporary Art, under the ownership of George N’Namdi who has furthered the careers of prominent and emerging African American artists since 1981. The Detroit Fine Arts Breakfast Club co-founded by Harold Braggs and Henry Harper has been meeting since 2009, attracting artists, collectors, and art enthusiasts who discuss, sell, and purchase African American Art. The Detroit Artist Market played a pioneering role in curating exhibitions that furthered the work and careers of many African American Detroit artists.

Collectors in the exhibition include long-time supporters of the DIA, such as Maureen and Roy Roberts — a contemporary African American gallery bears their names in recognition of a generous contribution to the museum. Other collectors include Nettie Seabrooks, the first African American woman executive at General Motors and deputy mayor, chief of staff and COO of the City of Detroit during the administration of Mayor Dennis Archer; and Rhonda D. Welburn, practicing attorney and former board member of the DIA who serves on the board of many nonprofit and charitable organizations such as the DMC Foundation and the Fred A. and Barbara M. Erb Family Foundation.  Published in conjunction with Detroit Collects: Selections of African American Art from Private Collections is a 136 color catalog by Valerie J. Mercer.

Detroit Collects: Selections of African-American Art from Private Collections is free to all residents living in Wayne, Oakland, and Macomb counties through March 15, 2020.

 

Kylie Lockwood:  Becoming a Sculpture @ Simone DeSousa Gallery

Kylie Lockwood, Installation image, Gallery opening, image courtesy of DAR

I was first introduced to work by Kylie Lockwood during Landlord Colors, last summer‘s blockbuster survey of Detroit artists on the world stage at the Cranbrook Museum of Art.  Her small, yet monumental sculpture Porcelain Legs in the Posture of David, stood quietly in the center of the gallery, dominating and animating the surrounding space, whetting my appetite for more. And now I have more. Lockwood’s solo exhibit, Becoming a Sculpture, is currently on view through December 21st at Simone DeSousa Gallery. It does not disappoint.

In Becoming a Sculpture, Lockwood is engaged in a project to “reconcile the experience of living in a female body with the history of sculpture.” She subverts art history’s unhealthy preoccupation with the female form as an object of desire by re-performing, with her own imperfect body, idealized poses from Greek and Roman antiquity.  She imitates and holds these poses while she casts portions of her anatomy–a leg, a hand, a torso–then re-assembles the bits and pieces of milky-white porcelain into a new kind of archetype: the female form as subject, not object.

Attempting Accroupie, by Kylie Lockwood, porcelain and nail polish, 2019 Image courtesy of Simone DeSousa Gallery

Lockwood makes a point of imperfection in her execution, avoiding over-determination of the figure. The delicate pores and subtle flaws that are apparent on the surface of the cast body parts contrast with the rough edges at the joins and painfully jagged, broken margins. Folds, cracks and tears in the porcelain draw attention to the hollow space within. She makes full use of the fleshy, skin-like texture of the porcelain, and adds life-like sheen to the nails of hands and feet by sly application of pearly nail polish.

The most formally ambitious of the nine artworks in Becoming a Sculpture is Attempting Accroupie, a nearly full-body recapitulation and reimagination of a much-copied Hellenistic sculpture. The subject of Venus surprised in her bath can be traced to an original version by Doidalses of Bithynia in 300  B.C., but the frequency with which the image has been repeated throughout art history, in all media and by artists as diverse as Bouguereau, Corot, and Picasso, speaks of its continued relevance to the prurient (male) artist’s gaze.  Lockwood has chosen her subject well.

The psychological poignancy of this Venus owes quite a lot to the broken and re-assembled features, perfect within themselves, but worked on by gravity and the considerable technical hazards of firing porcelain. The artist is engaged in a kind of ad hoc self-creation here, the undeniable beauty of the cast parts juxtaposed with agonized breaks within the body.

Elsewhere in the gallery, a number of the artworks seem to be concerned specifically with weightbearing and the physics of creating a three-dimensional object from clay. Load bearing leg in the posture of Crouching Venus delivers a strong sense of the implied weight of the body that rests invisibly above it. More painfully, Back in forward lean with fractures from bearing weight unevenly conveys a sharp sense of damage.

Thighs in slight Contrapposto, by Kylie Lockwood, porcelain and unfired clay, 2019 Image courtesy of Simone DeSousa Gallery

Near the back of the gallery, Lockwood has created a piece that is more modern in its affect and effect. Unlike her more classically derived pieces, Thighs in slight Contrapposto conveys, in its awkward stance, a palpable sense of the artist’s physical presence.  Though the piece is less elegant than the other  artworks, its loss in grace is redeemed by its augmented emotional eloquence.

Lockwood’s Torso in non-classical harmony is a less successful departure from her more complete pieces; this pairing seemed to me a little too flat and inert. By contrast, her sprightly Left hand and leg positioned at rest, as well as her Left foot poised between movement and repose, and Left foot firmly planted in an archaistic stance with hand draped across it in mutual support,retain, in fragmented form, all of the energy and animation of Attempting Accroupie.

Though Lockwood critiques a patriarchy that was ancient long before the Roman era, she seems to have an affinity, even a love, for the archaic and discarded. Her work retains some of the poignancy of recently excavated sculptures from antiquity, damaged yet recognizable to the modern eye. Or to quote the artist’s statement, ”To empathize with the ancient is to identify with the fragment, to feel the pressure entropy through an abbreviated form … which time has chipped away.”

Kylie Lockwood, Becoming a sculpture, archival inkjet prints, single edition, 2019 Image courtesy of Simone DeSousa Gallery

Becoming a Sculpture shows Lockwood at her most thoughtful.  Her recent work is perfectly imperfect, delivering a satisfying combination of conceptual rigor and visual pleasure.  She is in possession of the technical means to realize her vision and appears to be sure of her artistic mission: to transform our art historical preconceptions of beauty and agency in the female body.

Becoming a Sculpture is now on exhibition at the Simone DeSousa Gallery through December 21, 2019 

 

 

Summer Wheat & Hirosuke Yabe @ Wasserman Projects

Wasserman Projects Presents Summer Wheat, Hirosuke Yabe, and Matthew Bennett Laurents

Installation view of Wasserman exhibit, 2019, Images PD Rearick

A warehouse-gallery bristling with whacky lines and florid color, the current Wasserman Projects exhibition is testament to the wonderful volatility of contemporary artistic production. Featuring the inventive paintings and sculpture of Oklahoma City native artist Summer Wheat and complimented by the exuberant, folk-like sculpture and installations of Japanese artist Hirosuke Yabe, both of whose work employ crafty processes to achieve a singularly, spectacular visual presence. And while their playfully beguiling surfaces shimmer with  graphic energy both artist’s work limn deep political and economic issues.

To achieve the magical inlaid surfaces of her paintings, resembling the high craft marquetry of Renaissance cabinetry, Wheat squeegees paint through aluminum screen that serves as her warp and weft structure, to create stunning, flat biomorphic shapes of women, engaged in inscrutable activities. Like the Medieval and Renaissance tapestries that inspired them, Wheat’s paintings read as allegories that engage themes of historical, moral and religious importance. And like the stories in those tapestries, they are belied by the stunning surface that composes them.

Summer Wheat, “Picnic with Coins,” 2019, acrylic on aluminum mesh, 68” x 96”

Embedded in the flat, Picassoan/Matissean, cubist arrangement of colored puzzle pieces, Wheat’s narratives turn on money and women. The center piece of her exhibition is “Picnic with Coins,”2019, a triumphant play on the history of picnic painting. Lounging about, a group of intertwined women whose central preoccupation seems to be the bags of coin instead of sensuous human relationships and picnic baskets. Not the harem of Matisse’s “Joy of Life,” if there is anything joyfully erotic it is bodily connection to collections of dollars and coins that decorate the landscape. The surface of the flat paintings is detailed with a novel, raised relief of cake decorator-like, squiggled drawings and loose grids of paint.

Summer Wheat, “Coin Cart,” 2019, acrylic on aluminum mesh, 68” x 47”

Using the same intriguing squeegee process, Wheat’s painting, “Piggy Bank Version ll,” 2019, has a profile of a piggy bank which ironically, like a Grecian urn, is festooned with female figures in various poses, “embracing” (seducing?) the piggy bank. The symbolic piggy bank contains coins decorated with female figures and female figures that seem to have managed to gain entrance to the bank. Art historical references are inscribed throughout her drawing including Egyptian-like figures such as in the remarkable domestic image, “Coin cart,” 2019, of a stylized Egyptian female figure wearing harem pants, pushing a grocery cart burdened with a large coin imprinted with a female head. Wheat’s parody of our social landscape functions by symbols and irony and requires a certain acrobatic, visual literacy to unpack, but is rewarding in its astute payoff. The sharp edged, cartoony drawing and over-the-top, dazzling color palette are worth the price of admission themselves.

Like Wheat, Hirosuke Yabe’s large installations and scores of small wood sculptural works are teeming with a sort of shanty-town aesthetic in their jury-rigged construction methods but belie adroit hands and keen craftsmanship. The small wooden heads and full animated figures are sculpted with a nata, a small traditional Japanese woodsman hatchet, that renders an incised angular cut into the wood, not unlike Wheat’s own crosshatching in her paintings, giving a consistent look and feel to his cast of characters. One senses a rich history in the form and mark that the nata hatchet makes in sculpting the heads.

Hirosuke Yabe, “Old Dog Man,” 2019, reclaimed wood, motors, dimensions variable

The center piece of Yabe’s work are three large sculptural installations that function as an anchor for his whole body of work, including the heads and animated anthropomorphic pieces. Composed of repurposed wood salvaged in Detroit, “Old Dog Man,” 2019, and “Young Dog Man,” 2019, are abstracted, geometrical dog figures, instrumental in an allegorical narrative that belong to the large shack-like, “House of Consumption,” 2019, (perhaps a dog house). All three sculptures are animated by small whirligigs attached to the body of the dogs, including a beautiful ceiling fan in the house, operated by small electric motors. The whirligigs are brilliant in giving life, a kind of Rube Goldberg, kinetic life, to the dog-like sculptures, that symbolize the rudimentary instinct for consumption. (Think Labrador Retriever eating dinner!)

Hirosuke Yabe, “House of Consumption,” 2019, reclaimed wood, motor, dimensions variable

Accompanied by the small sculpted heads, each of which gives expression to the emotional range—from ghoulish to angelic– of human psychology, Yabe’s overall installation reads like a parody of the human landscape. There is story book quality to his work that is tempts us to read it like moral tale. Yabe’s “crudely” (yet elegantly) hacked and chopped forms of bodies and heads, and faces, are take offs on classical modernist forms from surrealism to African masks and totemic poles. The whole of the Wasserman Projects’ warehouse space is alive with a population of faces and bodies and composed of a brilliant array of lines and colors, a testimony to the, as usual, smart curatorial job led by Alison Wong. Part of the joy of this latest iteration of the Wasserman Projects is to explore the helter-skelter shapes and forms and mark-making of all three of the artist’s work that makes up this delightful wilderness of art.

Installation view of Matthew Bennett Laurents (Wasserman rear gallery)

To compliment the duo of artists in the front room gallery, in the rear gallery are a range of ceramic vessels wrought by Portland Oregon artist and Cranbrook Art Academy grad, Matthew Bennett Laurents. Adding to the limitless possibility of human expression that the exhibition already displays, Laurents’s vessels contain faces exuding archetypal human emotion or conditions of life. His faces, especially, add to the forest of lines and surfaces that inhabit this fine exhibition.

Matthew Bennett Laurents, “Fear,”2015, ceramic, 9.75” x 5.75” x 5.25” Image courtesy of Glen Mannisto, DAR

Wasserman Projects Presents Summer Wheat, Hirosuke Yabe, and Matthew Bennett Laurents through December 21, 2019