Category: Sculpture Page 24 of 28

Shaina Kasztelan @ Hatch Gallery

On May 31, 2016

Somewhere Over the Rainbow is a Double Rainbow: Way up high with Shaina Kasztelan

Shaina Kasztelan – Central installation, All Images Courtesy of Sarah Rose Sharp

One of the most challenging aspects of grappling with mental illness is not just the negotiation of an emotionally fraught psychic territory, but the social pressure to conceal whatever struggles may be happening internally. For women, especially young women, this struggle is a subset of the prevailing demand to present a shiny, positive face to the world. In Somewhere Over the Rainbow is a Double Rainbow, at HATCH Art in Hamtramck through May 28^th, artist Shaina Kasztelan effectively reveals the turbulent and colorful interior life of a young Millennial woman. This, her first solo outing, is an installation-heavy environment that immediately draws the viewer into a kind of psychedelic and intensely female headspace, via a chaotic accumulation of material culture that targets her as a consumer.

Shaina Kasztelan “The Devil’s Vibrating Smile,” (2016), 46″x46″

These materials include, but are not limited to: stickers, small toys, fake fur, plastics in innumerable iterations, decorative cake toppers, beads and cheap jewelry, a blow-mold nativity trio, fake fur, craft paper, artificial hair, and a series of pool floaties. Hearts! Rainbows! Unicorns! Kasztelan has plumbed the depths of the party-variety store in her search, and leaves no corner of her installation space unoccupied. One has a sense of stepping into a riot of Attention Deficit Disorder and teenage misanthropy, rife with cultural references that might be enigmatic to some, but readily identifiable to anyone within Kasztelan’s demographic. The nativity scene sports Insane Clown Posse face make-up; a cross-stitch bears an iconically self-pitying Nine Inch Nails lyrics; everywhere we encounter pop culture figures, from Mickey Mouse to the murderer from Scream, to the ubiquitous “Have A Nice Day” smiley face, in various interpretations. This is an interesting interplay between the objects Kasztelan has bought ready-made and incorporated into her texture- and color-rich compositions, and those that she assembles from scratch using craft materials; why bother to meticulously assemble a Mickey Mouse face from perler beads, when there are literally thousands of commercially made objects bearing the same visage?

Shaina Kasztelan – Details from the central installation

This speaks to a kind of obsession, which is echoed in the endless repetition of shapes—often small toys that can be bought in bulk for a few pennies each. In “Baby Cactus is Happy,” a cactus shape covered in rainbow hair and wearing a pink inflatable wig bears dozens of tiny variety store plastic babies, the mere existence of which is slightly confounding. Indeed, when you start to zero in on any of Kasztelan’s works, the preponderance of oddly useless objects generated by our culture and marketed in the direction of young women begins to become unnerving. What message does it send, to be continually surrounded by things that are colorful, basic, and functionless. Kasztelan seems to have compensated for this material invasion of her head by creating an imaginary life for these objects, reimagining them into creatures, friends, and demons—golems of hyper-femininity—often by means of craft projects, another highly feminized activity set. As each creature takes shape, so it reflects some aspect of young womanhood, dark or light. “I Scream, You Scream, We All Throw Up,” is a tower of plastic spray foam, fused into a kind of totem pole with spray foam, and topped with a fright mask that is the most recognizable symbol from the “Scream” movie franchise. The mask is vomiting spray foam in lurid colors down the length of the totem pole, and this violent mixture of hoarding candy, binging, and purging, very successfully blurs the innocence of a child’s Halloween activity with the body image pressure applied to young girls as they emerge into puberty, and the resulting host of horrific eating disorders that are a scourge against this demographic.

Shaina Kasztelan – Two works on paper 12 X 20″

Though presented in the trappings of frivolous girlhood, Kasztelan’s materials are a Trojan Horse for extremely intense concepts about sexuality, drug use, and mental wellness. Technically, each piece is incredibly rich in detail, seamlessly constructed (even in the event that drippy spray foam is being used as an adhesive, there is an intentionality and conscious hand at work) and remarkably successful at balancing literally hundreds of objects into well-balanced compositions. As a first solo outing, Kasztelan’s work already presents a strong self-awareness and adroit leveraging of a personal perspective that is often marginalized—that of the young woman, struggling to process a world full of expectations and distractions, and perhaps prone, in this struggle, to medicate some of the confusion into imaginary friendships. Somewhere Over the Rainbow is a Double Rainbow is a wild journey that brings home a surprisingly deep message.

Lois Teicher @ Robert Kidd Gallery

By Ron Scott

On May 27, 2016

In Sculpture, Uncategorized

Lois Teicher, Cosmic Journey #3 (Red) welded aluminum with acrylic 35 x 23-1/2 x 6-3/4 inches Cosmic Journey #1 (Black) welded aluminum with enamel 37 x 23 x 9 inches

The Robert Kidd Gallery, in Birmingham, Michigan opened an exhibition of sculpture by the artist Lois Teicher on May 21, 2016. These hand-welded shapes of metal with spray painted surfaces rely heavily on her use of space and form. Working in a minimalist tradition, Teicher brings a high level of technical accomplishment to these abstract works. These sometimes folded pieces of colorful metal are hard-fought ideas that use pure geometric forms that give the viewer a certain type of comfort that is easy on the eyes. It brings to mind a piece of Teicher’s work outside in a lush organic and natural setting where there is an extreme contrast presented.

Lois Teicher, Fragment – welded aluminum with enamel 43 x 43 x 22 inches

The conceptual idea presented in Teicher’s work reminds this writer of work by Robert Mangold and Ellsworth Kelly. Searching for the roots of the minimalist tradition in a broad sense, these geometric abstractions are easily associated with the Bauhaus School in the work of Yves Klein, Piet Mondrian, and Joseph Albers. Some might suggests the movement was a reaction to abstract expressionism, but I would argue it is more of an inner-sensibility that drives this work; that there is an internal intellectual idea that says these forms are part of what creates the space/time continuum in the universe.

Lois Teicher, Curved Form with Triangle and Space III – welded aluminum with acrylic and enamel 36 x 23 x 18 inches

It’s taken this writer a trip to Donald Judd’s Marfa, Texas, and Dia: Beacon up the Hudson River from New York City, to contemplate and digest minimalist concepts. The recent passing of artist Ellsworth Kelly in December 2015 bring to mind a kindred spirit with Ms. Teicher, who completed her graduate work in 1981. She says in her statement, “My studio work is generally constructed of hand-welded metal that I personally fabricate. The process of expressing ideas mostly germinates from a solitary inner experience the flows outward and takes the form of visual expression.”

Lois Teicher, Eclipse Series VI – welded aluminum with acrylic 52 x 52 x 14 inches

The work on the floor and the wall sings a similar minimalist note, but Ms. Teicher takes her own step when she makes the form fold. What needs to be said is the role scale plays in this work. Some of the work in this exhibition seems like scale models for larger work that would be placed in public spaces. Given the space afforded by galleries, it’s these models that often stand alone as works of art in search of a public space. There is a natural balance in Teicher’s pieces with a Zen-like simplicity that informs each piece of work with a high caliber of visual experience.

Continuum, May 21 – June 18, 2016 Robert Kidd Gallery, Birmingham, MI

“ECHOES”: Three Artists Resonate @ Galerie Camille

By Sarah Rose Sharp

On May 4, 2016

In Fiber, Paintings, Sculpture, Textile

“ECHOES” at Galerie Camille is a three-person show featuring the work of Robert Mirek, John McLaughlin, and Paula Schubatis . The show demonstrates points of resonance that carom throughout the individual bodies of work, as well as creating a kind of visual conversation between the three artists, who would seem to have little in common, at first glance.

Mirek and McLaughlin are both established artists with long histories in the Detroit Metro scene. Schubatis is an emerging artist and recent graduate from University of Michigan Stamps School of Art and Design, and has been tearing up the Detroit scene lately, with a turn as a Red Bull House of Art resident, and a number of group and solo shows in the area.

Installation Image, Robert Mirek, Mitosis – All Images Courtesy of Sarah Rose Sharp

Upon entering Gallerie Camille, the viewer is greeted by “Mitosis”—a large-scale wall-hanging sculpture by Mirek, composed of hundreds upon hundreds of tiny wood scraps. These are the remainders from his labor-intensive series of graphic shape sets, which he designs by computer and then cuts from plywood; two series face off against each other on the walls leading into “Mitosis”: the Strand series on the right, and the newer Thread series on the left. Mirek’s works have a feeling of alien archeology, and the interspersing of his work with that of Schubatis is nearly seamless. The two artists inadvertently echo each others’ palettes, and her abstract and lovely wall-hangings and humorous rock-based sculptures look right at home alongside his meticulous vocabulary of symbols and oil paintings that veritably leap off the page in their desire to achieve the greater dimensionality accomplished by his sculptural forms. “Mitosis,” with its many constituent parts, is the perfect centerpiece for the show, which features work that seeks to impose order upon a chaos of objects, symbols, and materials.

John McLaughlin, Ground Floor (diptych) Painting / Collage

This is evident in McLaughlin’s work, which sits mostly apart from the others, in the deep-set black box gallery. Collage typically implies the layering of images—by contrast, McLaughlin’s mixed media drawings on paper are a colorful motif of stand-alone squiggles, each cut from media materials, which occasionally abut each other, but do not overlap. The effect is something like pouring a colorful jigsaw puzzle out onto a white table; there is a sense of some potential connection or relationship between these shapes, but it is not figurative and not explicit. The whitespace becomes equally as important as the particulates, and the eye caroms around the visual static, looking for imagery—a kind of highly mediated form of cloud-watching. Though his work stands physically and materially apart from Mirek and Schubatis, McLaughlin’s works collectively reinforce the effect created by ECHOES, with swarms of shapes hanging together that effectively echo Mirek’s symbol-clusters in the main gallery.

Schubatis, Wall Hanging, flanked by Mirek’s Paintings

Schubatis has drawn her components into an even tighter matrix—that of the woven body. Her weavings have been, at times, highly experimental in her incorporation of odd materials, such as caution tape and other plastic waste, but even in these more conventional wall-hangings, her impeccable sense of balance and bold color choices make for dynamic and achingly lovely compositions. In the center gallery, which is almost entirely work by Schubatis, these are interspersed with sculptural oddities—improvisations on rock forms, embellished with melted candlewax, paint, and bedazzling gemstones. The combination of bold materials, mineral shapes, and paradoxically minimalist finish create a kind of paleo-futuristic effect; these works would be fitting interior decorations for the Starship Enterprise.

Robert Mirek, Stand Series, detail view

Or perhaps, again, that influence is seeping through from Mirek’s work, which inescapably suggests alien art: mysterious shapes that beg for translation. The Strand series finishes his plywood forms in an exterior of gray pumice punctuated by sharp chartreuse pebbles of window glass. There is an undersea feel to these, like the superstructure of a reef, the rough irregularity of which has given rise to vibrant life. The Thread series reveals more of the underlying woodwork, and give the sense of architectural models for fabulously modern space-buildings and complexes, with the threads tracing out colorful infrastructure—water lines, green spaces, or transit systems (hovercrafts, one imagines). In the small transitional space between main gallery and the back room dominated by Schubatis, her work and Mirek’s mix almost indiscriminately. Here, a wall hanging is flanked by two of Mirek’s standalone wall sculptures, which tonally mimic each other so perfectly that the truth of that happy accident seems stranger than fiction. There, another woven piece by Schubatis provides a calm striation of undulant yellow-on-gold-on-brown forms, which make a harmonious landscape for several pieces from Mirek’s Scorch, series, which seem almost carved out of bone, with the darker backdrop material revealed, upon closer inspection, to be hundreds of tiny drawn and glued elements—replicating just like cells, alluded to in the title of Mirek’s sprawling centerpiece.

Altogether, much to be considered and enjoyed within ECHOES, proving that sometimes the best part of work is the visual echoes that emerge when visions bounce off each other.

Patrick Hill @ Susanne Hilberry Gallery

By Clara DeGalan

On April 30, 2016

In Paintings, Sculpture

Mocking up Where Nature and Structure Meet

Installation Shot Patrick Hill Drawings and Maquettes

Patrick Hill Drawings and Maquettes, Installation Image – Courtesy of Susanne Hilberry Gallery. All other images courtesy of Clara DeGalan

Patrick Hill’s maquettes, on display at Susanne Hilberry Gallery along with a large number of 2D works in a solo exhibition titled, appropriately, “Drawings and Maquettes 2014-2016,” are constructed in such a way that you can feel their potential to tower benevolently above you. You seem to be looking across the galleries from atop a high mountain at a curious experiment in integrated living down below. Hill’s 2D works evoke a similar experience of upended scale. Viewing images of them, it’s difficult to discern which are human-scaled and which small and intimate, inviting the viewer to huddle in close. Patrick Hill’s visual language is as rock-solid as the formal principles of sculpture, on which he bases both his 2D and 3D works. His solo exhibition transforms Susanne Hilberry’s galleries into a vast, charming landscape that evokes the West Coast, and Los Angeles in particular, in a tickling synesthesia of palette, forms, structures, visual and cultural references, and scale.

Image 1 Outdoor Studies 1 through 3 2012 2 Way Mirror Carrera Marble Dye Ink

Patrick Hill, Outdoor Studies 1 through 3 2012 2 Way Mirror Carrera Marble Dye Ink

Hill balances the solid, earthbound heft of his sculptural forms with light materials, colors, and narratives. His titles play with words and ideas, swinging between references to mysticism, nature, and pop culture (three exemplary titles are Threshold [New Thought II], Outdoor Study, and Kelly Bundy). A pair of ink and tea wash studies on paper are subtitled Moons and Boobs- channeling spiritual and formal rhymes between words in a way that keeps the conversation around this interesting work funny and light.

Image 2 Kelly Bundy 4 2011 Paper Dye and Ink 60 and three eights by fifty inches

Patrick Hill, Kelly Bundy 4 2011 Paper Dye and Ink 60 X 50

True to the three dimensional formal principles they borrow, Hill’s multimedia drawings contain layers of real and simulated texture. Their slapdash, playful surfaces are only part of the story- a closer look at works such as Fan Death (Double) reveals the artists fertile engagement with natural forms that collide in beautiful, meditative ways with empirical, human-made structures. The folds that lift the heavy paper off of the wall begin to reference the first steps of an origami structure, which is overlaid with a Frank Stella-esque drawn architectural/fan form, over which Hill has collaged blackberries. The above-mentioned synesthesia that makes Hill’s work more and more intriguing is in full force here. It’s present, too, in Palm (black and pink) which makes a spray paint stencil of an actual palm frond, evoking the surface quality of rapidly executed street art and, with the leaf’s delicate, vibrating edges, the iconic West Coast sound of wind moving through palm trees.

Fan Death (Double) 2013 Paper Blackberries Dye Grahite 12 by 9 inches

Patrick Hill, Fan Death (Double) 2013 Paper Blackberries Dye Graphite 12 X 9″

Hill is constantly flipping heavy and light throughout the works in “Drawings and Maquettes.” This visual/conceptual romp is especially enjoyable in his sculptures, which point toward human scale while seldom exceeding a foot or two in height.

Large Geosurgery 2013 Cardboard Dye Ink Tape Glue 52 and a half by 35 X 33"

Patrick Hill, Large Geosurgery, 2013 Cardboard Dye Ink Tape Glue 52 X 35 X 33″

In this respect, they’re successful as maquettes- and it matters that it’s the maquettes that are being shown, in all their rough-edged, paint-spattered humility. Despite their sculptural construction and prep-drawing feel, the maquettes capture the spirit of Hill’s work better than the hinted- at final pieces ever could. They are heavy and light, silly and serious, funny and touching, all at once. It’s a fine balance, and one Hill manages with a deceptively care-free abandon.

“Patrick Hill- Drawings and Maquettes” is on display at Susanne Hilberry Gallery through June 4, 2016.

http://www.susannehilberrygallery.com/

Dance! @ The Detroit Institute of the Arts

By Ron Scott

On April 8, 2016

In Paintings, Photography, Sculpture

DIA Presents a Multimedia Exhibition of Ninety works of American Art 1830-1960

How long have people been dancing? Probably longer than they were playing with fire. Nureyev captured the hearts of millions of ordinary people, while Baryshnikov stunned the critics and Martha Graham created the full-codified modern dance with her deviation from classical ballet.

Director Salvador Salut-Pons at Podium introducing the Dance! 1830 – 1960 exhibition

Coming off a very successful 30 Americans exhibition, Salvador Salort-Pons took the podium to introduce the new exhibition Dance! American Art 1830-1960, at the Detroit Institute of Arts. Opening March 29, 2016 the multimedia exhibition surveys the history of Dance in America as seen through the eyes of American Artists.

“This is the first major exhibition to explore visual art related to American dance. Dance has such a rich history and has touched all segments of American society,” said Salvador Salort-Pons, DIA director. “This exhibition is not only about the representation of the art of dance, it explores how artists were inspired by how Americans move, how they interacted with each other and experienced the rhythm of music.”

It was clear from her remarks at the media preview that curator Jane Dini had been working on this exhibition since her time spent working at the DIA, and that this exhibition had been in development over the past five years. In Dance!, Ms. Dini has been able to create her life’s dream.

“In addition to the outstanding works of art, it was important for me to have the voice and expertise of dancers within the exhibition itself,” said Jane Dini, now associate curator of American Painting and Sculpture, Metropolitan Museum of Art, New York, and curator of the exhibition. “They help illustrate how dance as an artistic form had an enormous impact on the fine arts, especially painting and sculpture.”

Video of Dancers – One of several through out the exhibition

I never danced, but my parents were both professional dancers, which gave me some built-in personal interest. My parents were both recruited by a New York dance company in the mid-1930’s. In addition, in the 1980’s, I facilitated an artist-in-residency program in the Utica Schools, where we brought the Detroit City Dance Company, under the direction of Carole Morrisseau, into our forty schools over the period of a school year. Getting to know the day-to-day lives of dancers is something that stayed with me. I learned they lived in a physical world and often from moment to moment. The dancers had a unique devotion to their bodies, especially their ankles and feet.

Ms. Morrisseau is now a visual artist practicing in Detroit, and I caught up with her at the Scarab Club, “The concept of the current exhibit at the DIA is a credible one and exceptional in its undertaking. I believe there is a very strong relationship between the visual and performing arts. Hopefully this exhibit will expand the public’s view of the art of dance and visual art.” Carole Morrissieau will exhibit her visual artwork opening this month at the Scarab Club.

Arthur Bowen Davies, 1862 – 1928, Dances, 1915

Arthur B. Davies (1862-1928), often called an Ashcan painter, was an avant-garde American artist who spanned the boundaries between the 19th-century romantic tradition and early twentieth-century modernism in the United States. He was born in Utica, New York and studied at the Art Institute of Chicago in 1878 and at the Art Students League in New York in 1887. His idyllic figurative pastorals are often said to harken back to Botticelli. Davies supported the new abstract movement and participated in the early formation of MoMA in New York City. His work was collected ahead of its time by the Phillips Collection. In Dances, 1915, Davies used faceted planes of color to define the moving figures, resulting in a pattern of color evoking a dance celebration.

Eastman Johnson, Negro Life at the South 1859, Oil on Canvas

Genre painter Eastman Johnson (1824-1906) had a turning point in 1859 with the exhibition in New York of his Negro Life in the South. His ambiguous picture of the leisure activities of a group of slaves was a sensation at a time when the topic of slavery was being universally debated. In the painting, a mother encourages her son to dance to the music of a banjo player. Born in Maine, Eastman Johnson was educated in Europe, where he was inspired by the work of Dutch Masters. He is best known for his realistic portraiture and as a co-founder of the Metropolitan Museum of Art in New York City.

Henry Joseph Sharp, The Harvest Dance 1894, Oil on Canvas

Joseph Henry Sharp (1859-1953) was an American painter best known for his work painting Native Americans. Sharp was born in Bridgeport, Ohio to Irish immigrant parents and studied at the Academy of Fine Arts at Antwerp. Sharp’s first trip to the West was in 1883 at age 24. He visited pueblos in New Mexico, Santa Fe, Albuquerque and Tucson. In his work, Harvest Dance, Sharp illustrates a strong skill set for painting the figure and depicting the sunlight on his subjects. Sharp went on to become one of the six founding members of the Taos Society of Artists.

Sargent Claude Johnson, Dance Hall Study, 1935, Tempera, Watercolor, and Graphic on Illustration Board.

Born in Boston on October 7, 1887, Sargent Johnson was the third of six children of Anderson and Lizzie Jackson Johnson. Anderson Johnson was of Swedish ancestry, and his wife was Cherokee and African American. As a member of the bohemian San Francisco Bay community and influenced by the New Negro Movement, Sargent Johnson’s early work focused on racial identity. Johnson’s art ranged from African American masks to producing paintings of local folks and creating small, figurative sculptures. Dance Hall, a study in watercolor and graphite, was a study for the San Francisco Housing Authority mural.

Robert Henri, Salome Dancer, 1909, Oil on Canvas

Robert Henri (1865 – 1925) was a leading figure in the Ashcan School of American realism who helped organize a group known as “The Eight.” Henri studied at the Pennsylvania Academy of Fine Arts in Philadelphia and under Thomas Anshutz, a protégé of Thomas Eakins. Art critic Robert Hughes declared that, “Henri wanted art to be akin to journalism. He wanted paint to be as real as mud, as the clods of horse-shit and snow, that froze on Broadway in the winter, as real a human product as sweat, carrying the unsuppressed smell of human life.” When Henri painted the dancer in the role of Salome, a seductress from the New Testament, in 1909, it was rejected by the National Academy because the exposed leg was considered too controversial by the fine arts world. Robert Henri was a popular and influential teacher at the Art Students League of New York.

Paul Manship, Dancer & Gasell, Bronze, 1916

Paul Manship (1885 – 1966) was born in St. Paul, Minnesota and began his art studies at the St. Paul School of Art in Minnesota. From there he moved to Philadelphia and continued his education at the Pennsylvania Academy of Fine Arts. At one time the country’s most famous exponent of Art Deco, he embraced archaic vocabularies of Greek, Roman and Indian art to create decorative, stylized, Neoclassical works. The statue in the fountain in New York City’s Rockefeller Plaza, Prometheus (1933), is one of his most famous works. The bronze Dancer and Gazelles, was completed in 1916 and won the National Academy prize in 1917. The tension in the small areas between the figures emphasizes the dancers’ gestures, which command the gazelles’ movements.

Andy Wharhol, Dance Diagram, 1962, Casein and Graphite on Linen

Andy Warhol (1927 -1987) a leading American Artist who ushered in the Pop Art movement, began to make paintings of iconic American objects such as dollar bills, mushroom clouds, electric chairs, and the most famous Campbell’s Soup can. The New York opening at the Stable Gallery on November 6, 1962, was Warhol’s first one-man show and also where he first debuted Dance Diagram. It was presented in a series featuring six additional Dance Diagrams with the source material taken from the Dance Guild’s 1956 book Fox Trot Made Easy. It shows Warhol’s interest in selecting objects from American culture as subjects for his artwork.

Biba Bell, a Detroiter who recently completed her PhD in performance studies at N.Y.U., says, “The ways that dance is taken up symbolically within visual art is so interesting! I’m imagining that each piece produces these figures and forms in diverse and unique ways, but there is something about the dancer, the body that is dancing, filled with movement and the moment and a kind of excess of life/ liveliness that is astounding and so important when depicting any culture.”

If you’re not a dance aficionado, Dance! American Art 1830 -1960 at the DIA might spark your interest, and while you’re in New York City, get tickets to see An American in Paris, by the Tony Award-winning choreographer Christopher Wheeldon who has created a critical and commercial success breaking new ground by bringing ballet to Broadway set to the music of the Gershwins.

I recall, my father watching black & white films of Fred Astaire & Ginger Rogers for hours, and he tap-danced into his eighties. When I was very young, attending a family wedding, my parents did something rare; They danced. Everyone gathered around to watch them exhibit their talents publicly for maybe the last time. I was so very proud.

The Detroit Institute of Arts deserves credit for this curatorial creation of its own that will travel to the Denver Art Museum, July 10 – October 2, and the Crystal Bridges Museum of American Art in Bentonville, Arkansas, October 22, 2016 – January 16, 2017.

Exhibition tickets are $14 for adults, $10 for Wayne, Oakland and Macomb county residents, $7 for ages 6–17, $5 for Wayne, Oakland and Macomb county residents ages 6–17, and free for DIA members. Admission is free every Friday. School groups need to register in advance. Tickets at dia.org or 313-833-4005