Comments and reviews of visual art in Saint Louis

Eric Hoefer and Peggy Peak at the Fair

2009-09-18T13:12:00.006-05:00

I went to dueling art fairs last weekend, the Saint Louis Art Fair and Art Outside. They aren’t really in competition but they do run at the same time. It was cool to find Art Outside promoted on the Saint Louis Art Fair web site. It was also nice to see local craft beers welcome there again. The music included some of Saint Louis’s best blues players, Rich McDonough along with my favorite harp player, Eric McSpadden. Schlafly beer was, of course, available at Art Outside, since they sponsor it. There was an all girl country/folk band there playing the fiddle parts with a clarinet and making it work.
I am very near to reaching a dream I have had for years, my own ceramics studio. Located in Overland, it will operate in an open studio format. It is to be called “LampLight Studio”. Naturally, I took great interest in all of the ceramic work at the fairs. There was quite a bit of it.
At the Saint Louis Art Fair, I had the pleasure of speaking with Eric Hoefer. “Eric Hoefer, originally from upstate New York, received his MFA from Southern Illinois University/Edwardsville in the Summer of 2004. He received a BFA from Syracuse University in 1999.
Eric is primarily a potter who uses utility, and at times, elaborate constructions to create architectonic functional pots. His interest in historical Asian pottery and architecture combine to make compelling formal statements.”
He works in white stoneware using soda fired and also standard reduction firing. The work is both wheel thrown and hand built. Often it is a bit of both. Inspired by Architect Frank Gerhy, some of the work is whimsical. He sometimes focuses on the “negative space”, directing ones attention on the area around the piece. The work is done in earth tones with the glazing working not above or beneath the piece but in unison with it. Where soda is used, it is used lightly. The pieces are meticulously crafted.
Peggy Peak showed an interesting variety of raku and porcelain ceramics at Art Outside. She mixes glazes for Craft Alliance so it is not surprising that she would have such a wonderful variety of beautifully glazed pieces. This piece has a satin finish. The glaze is called “milstone green”. Peggy found it in an old Ceramics magazine. Although I love “Ohio State White”, it seems to be in the palette of every potter in town. It is good to see some different glazes introduced into the mix. There were a couple of other things I found really nice about Peggy’s work. The variety of types and styles showed a great deal of experience. She has worked through many phases in her career as a studio potter. Also related to her experience is the craftsmanship she exhibits. Not only are the works masterfully crafted, they are artistically refined.

Open Studio Tour #4

2009-07-28T12:54:00.008-05:00

This years open studio tour was like all the others - the best one yet. It gave me a chance to go into sections of the city that I often drive by but never have a chance to see. There is an interesting group of studios in south city near the river on Ohio. They are old workshop buildings, some still in use for manufacturing. In one of these studios is Sarah Paulsen, painter. She also had cells from her animation work on display. She shares a studio with Cameron Fuller, installation and illustration. Behind their building is the studio of Kevin Harris and his lady friend. Their building sits on the bluff overlooking the river. Kevin was out but his girlfriend showed me some pretty nice photography that she has done. I am sorry I missed Kevin as he was set up for audio performance work and I would like to have heard his work. In the next building down, Tim Wilson has a custom wood shop on the upper floor. Beneath him, on the lower floor, is the studio of Gary Passanise. This is the most interesting studio I saw on the tour. You enter it by ducking through the doorway.
Which places you in a sort of grand entrance cellar. Walking down a few steps brings you to another doorway to the left. Once again, you are at the top of the stairs but this time you are looking over a cavernous studio with 20 foot ceilings.

While I was in the area, I also stopped by Cherokee street to say hi to Angelo at Cranky Yellow. It was not part of the tour but still an interesting place to see.
The one artist I was interested to see there was Amy VanDonsel. I have seen her work online and wanted to see it for real. Painter, mostly, but also sculpture. I first caught interest in a digitally manipulated photograph of a painting she did. Her straight paintings are nice as well.
Her studio is a storefront on Cherokee Street. In the living quarters, there is a very interesting tree limb in sculpture attached to the ceiling. She is working on a origami based sculpture. It is such a cool idea, I wish I had thought of it. I get that feeling lot as I walk through so many open studios.

Lisa Becker at Third Degree Glass

2009-06-23T10:19:00.016-05:00

On the third Friday of each month, Third Degree Glass Factory treats the public to an evening of music and art in midtown. Owners Jim McKelvey and Doug Auer have upscaled an old factory into a showplace for contemporary glass artwork. The main focus is on hot glass. Glass blowing demonstrations are given throughout the evening. Molten blobs of glowing glass are casually moved about the work area. It scares me. I can't look but it is fascinating if you do. My interest last Friday was to see the kiln formed work of Lisa Becker.
Her studio, Art Glass Array, is in the Crossroads Art Center in St. Charles. She offers classes on warm glass. I took one last month and really enjoyed it which surprised me because I am not that crazy about glass art. A bit too flashy for me. Her friendly smile and kind lies (telling us how good we were doing) did not mask the genuine nature of her interest. She started in glass doing art glass for architecture. From the honest creativity expressed in her work, I don't think she has been corrupted by the meddling influences of advanced coursework. I may be wrong here.
The titles of these pieces, The Bride, (white) The Groom, reminds us her thoughts are with the concept of family. Understandable, for as my buddies at the mill would say, "She's got a bun in the oven". To use something as abstract as glass and come across with a solid concept is a pretty good trick. The lace of a veil, the flow for the train and moment of joy. The Groom, dark and stately with strong line. Together in a similar form of unison. The work is displayed precariously on pedestals about the room.
On one side a bluegrass band plays. The music for these evens has always been distinctive. Well worth ones attention. The Third Degree Factory also has classes for warm glass. They offer lamp working lessons and even allow guests to take a short class on it during the evening. This involves beadmaking with glass over small blow torches. Scary stuff too but not quite so bad. They have been having these open studio events almost since opening. Back then there were just a few people milling around. It has become more and more popular and the place is always packed.
"Wall Waves" James McKelvey

Washington University Graduate Program Open Studios

2008-12-16T09:49:00.009-06:00

Science continues to report the latest news from the universe: A black hole emits a note 52 octaves below middle c, a star travels 162,000 miles a second. Every day we are tormented with new and incomprehensible details. I have a personal theory which I rely on to deal with the cognitive dissidence from such information. It is an extension of the flat earth society and I call it the "Null Point Universe". It states that if something is unbelievable, then, don't believe it.
I was reminded of this when I met Nick Hutchings at the Lewis Center. He told me his art is inspired by the science of quantum physics and he spent just a minute explaining. I tried to understand but found myself falling back to the safety of the null point. I am attracted to his work on a more basic level. "Nick Hutchings' current work is exploring the connections between the eternal and temporal utilizing the abstract analogies of the tent as a meeting place between them." I like abstract art but feel it richer when there is something identifiable within it. Nick presented a study of nine small paintings, a series, oil on paper, each quite lovely. The subject matter was a tent and each progression in the series abstracted the last. Nick found the midpoint of the series to be most interesting. I agreed. To finish, several larger works were done using this midpoint as a basis.
"Kelda Martensen is a print and book artist whose works on paper address cultural memory and natural wonder through use of architecture, landscape and domestic space." Interestingly enough, her work is inspired by the unknown. "True experience and unexplainable events are my starting off point." She has gained substance through travel and poured it into her work. "Escape from Cape Town" 58 x 145 inches, is a paired set of prints. Collagraph, digital print, monotype, woodblock, collage, graphite drawing. The strong graphic composition is nuanced by subtle use of color. There is one section of collage with particular interest. It is a photoimage of a row of buildings. Somewhat faded, the coloring of each building is a different, soft pastel. Alone, it is very different from the rest but yet fits in so well.
This open studios event for the graduate program is one of the best in town. Some of the artist here will set root and effect the direction of art in Saint Louis for generations to come. I saw a nice painting by Anne Lindberg leaving with new owners and there was many affordable prints for sale. Not to be missed.

Tim Eberhardt - Art through Craft

2008-10-31T13:28:00.012-05:00

The Art Pottery tradition was started around the turn of the last century and focused on graceful decorative ceramic ware. Tim Eberhardt has embraced this tradition in a quest to rediscover this lost art form. Although it is usually thought of as a decorative vase, Art Pottery includes other objects of ornamentation such as architectural and decorative tiles. Likewise, the main body of Tim's work is focused on the vase and decorative jar but has included ceramic tile. He has currently placed his distinctive collection of ceramic tile work on display at Meramec Community College in the cases by the ceramic department. These tiles provide a good idea of the vast body of his work in that they offer a similar style. The subject matter is drawn from nature, often flowers but also scenic fields and other landscapes. The different slant to glazes provides insight to the broad scope of his approach. From a satin glow with muted tones to a higher gloss and brighter colors, his work goes beyond the traditional method. He adds a personal element of creative style by infusing the work with a painterly touch. Here, he has drawn a self-portrait on a tile with his pots on a shelf in the background. With all of the different elements tied into this piece, the thing which I find most interesting is the expression of his eyes. What the hell is he thinking here? Also on show is a collection of architectural art tiles from an earlier period.

Art East

2008-10-23T09:38:00.008-05:00

We should take the weekend as it comes. With a rough idea of what's going on, I like to start a plan in the morning and see how much I can squeeze into the day. Last weekend it was Art East and opportunity to visit some open studios.
I selected three and threw our bikes on the van for good measure. There are a number of nice trails through rural Illinois in that area.
My first stop was at Lane's End Pottery, the studio of Charity Davis-Woodard. Actually, there are two studios there. Her husband, Bob, is a metal worker. They sit back in the woods and their front yard is more like a woodland garden accented with sculptures of iron and clay. I have been admiring Charity's work for some time and wrote about it earlier in this blog. Combining creative design with the organic beauty from a wood fired process elevates her craft to art. My wife, Colleen, and I selected this piece to commemorate thirty one years of martial bliss.
Since we were in Edwardsville, we stopped by to see old friends, Collette and Sam, at Springers Creek Winery, a most eclectic space.
Running short on time, I decided to skip the planned stop at Snail Scott's and head to Susan Bostwick's. However, I got lost and came upon Snail Scott's anyway. Got lucky. Her studio is in a large pole barn in farm country. Plenty of room to spread out and she needs it.
Snail Scott is an incredibly gifted sculptor with an amazing conceptual visual imagination. Using elements of human form in conjunction with mechanical artifacts, her work offers meaning, depth, grace and beauty. Man and machine, all rolled up into one neatly refined piece. Of course, having an artistic concept still requires masterful craftsmanship to bring it to fruition. This is where the "incredibly gifted" part comes in. Her hand is as good as her mind. Most of the work is base on very life like human forms. It is from this realistic starting point that the surrealistic effect takes hold. Using a variety of materials, clay, metal, paint, cloth she is able to fabricate just about any idea. She can make clay look like metal if it suits her purpose. When I look at a piece of art, i like to figure out what it is and how it is done but with her work you don't really know what you are looking at. Some of the work is cast bronze. Most is ceramic. Some is instillation. Some paintings. She also teaches. Got to love that name, Snale Scott.

We skipped the third stop to allow time for our bike ride. We chose Heritage Trail in Glen Carbon. The map gave the trail head as Miners Park. In Miners Park, I was excited to find a marble plaque stating my Great Grandfather Viessman had once held that property. It was a place where I picked tomatoes as a boy.

Jaime Gartelos, Robert Treece, On the move

2008-09-08T11:58:00.019-05:00

I see, by the number of events last week, the new season is upon us. Of the many great opportunities, I chose to go to the openings of two artists that have tweaked my interest for some time. It is curious that one of them has just moved to Chicago and the other, from.
I met Jaime Gartelos at last years open studios tour. That meeting was brief and long ago. I didn't even remember what he looked like. I did remember his art. I kept his card. When the tour came around again, I thought I would look him up. He wasn't on the tour this year. However, I emailed him and found he was to have an opening at Mad Art Gallery. Good, I could see a collection of his work in a Gallery setting. The thing which attracted me to his work at that open studio tour a year ago was his use of graceful dark line, drawing with a brush, intermixed within the painting. He uses this technique less at the current show but it is still there with great interest. I mentioned it and he was happy to tell me how it is done with a round and thin, dark oil paint. He also offered advice to others wishing to learn how to create art: "Just paint".
The idea being that creativity is something which is self taught.

Ellie Balk is also in this show with some of her work done in collaboration with Jamie. To make things even more interesting, Ellie created a video based on one of the pieces, "Collaborative Painting 1". Using a computer projection screen, it showed the develoment of two different works by displaying various stages of the paintings in progress.
It was interesting to see how his paintings are created. Using brushes, he lays the foundation adding sections, first one here, then another in counter balance. Moving on to knifes, he adds thicker layers of color. Sometimes, something gets removed, something else added. Textural lines are scratched in. One of his goals is to make the work full and complicated while still keeping it in harmony. Much of the work was done in St. Louis with the last being finished in his new location in Chicago. Wishing him the best of luck in the Windy City.

I noticed Robert Treece from the posting of a link to his web site in the art section of Craiglist. The self photo is different, he has on a gas mask, and his artist's statement has a line in it that is completely crack me up funny. A graduate of the Art Institute of Chicago, he has an admirable dedication to the creation of visual art. The overall style of his large works are based on the Italian Renaissance period. That is pretty much where the similarities end. The details are more like abstract textures. They are build in layers, sometimes adding a collage of altered digital images taken from an earlier painting. He spends a good bit of time on each piece, developing them as he goes along. Add and subtract, change and change again, enveloping himself and his work in the creative process.

There is another side to his work. He uses photo-realism as a sort of an extreme counter balance to the other work. Perhaps it is to keep himself grounded. When working for extended periods in the outer reaches of your mind, it helps to have a way home. Robert has recently moved from Chicago, citing the cost and confusion of living in the "big city". He may not stay, but we got him for now and he is a great addition to Saint Louis and very much welcome.
While we are on Chicago - Saint Louis, there is a show, "306" with work by eight Chicago artists and work by eight St louis artists. It opens Friday, Sept. 12 and Hoffman LaChance Gallery 3100 Sutton in Maplewood.

Open Studio Tour

2008-07-22T07:43:00.005-05:00

I like the annual open studio tour. It gives me a chance to poke around an artists' studio, see their naked work and ask enveloping questions without feeling I am being intrusive or infringing upon their time. I also have a specific interest because I need a studio and am trying to figure out how to get one. With this in mind, I started by visiting the one I most covet. Located in on Olive in the east of U-City, it is recently developed and owned by Sheldon Johnson. Sheldon paints, primarily abstract but also some landscapes, building with layers and textures, experimenting with different paints. He has been renting space and shopping for his studio for three years. It must have been crowded because his new studio of 3000 sq ft has all of the walls covered with his work. He rents some of the space to other artists. Sheldon did caution that the U-City inspectors were picky. That’s a mixed blessing in that it can be a real pain but can also keep an area nice. Sheldon’s art is available at the Gateway Gallery.

Next, we headed to the Hill. Had lunch, of course, and went to the gallery of Gary Mitchell. Gary does hammered aluminum sculptures of a scale maybe 2x. They are fairly large, mostly of women’s torsos. He had five of them on display in an empty first floor apartment. During the tour, we were joined by young painter, a twinkling Iranian from Kentucky who found Gary’s work of special interest. Gary explained a bit about the process in his basement studio. He starts with a model made of oil based clay. I found it interesting this clay doesn’t dry. It can be reworked and refined. From the model, he lays out a grid work and builds a full size armature from plywood. Not solid, but more like cubed up. From there, he shapes the aluminum by hammering it on an anvil and rivets it together. Since it is large, his work is often displayed outdoors in sculpture parks.

Stopped by Evil Prints. It’s second floor front office was nice with many young printmakers working throughout. Walls covered with interesting prints. Kitchen, lounge chairs. Cool and comfortable. A feeling of community. The back was more industrial. Good light but hot in July. Still, lots of room, clean and neat. It was nice to meet printmaker, Thomas Huck and watch him carve on the plate for his next print. It is large ( maybe 2’x6’?) It took two weeks to draw and will take several months to cut.

The Luminary Center for the Arts has interesting possibilities. It is a community based group located in a former convent. The studio spaces are made from the former sleeping quarters. A bit small but the interesting part is that many artists could work together. I believe they offer open studio sessions for the general public several days a week. Even some talk of music. There are also community rooms, including the former chapel, which are quite lovely. This is a new project, not quite going yet but great potential.

The final stop was the most engaging, the studio of painter, Laura Beard. Friendly and knowledgeable, she was generous in sharing information. She spoke of other studios to visit, other painters to observe and of her recent and I think successful show at Perimeter Gallery in Chicago. She also has access to reasonably priced and locally made high quality stretchers.

Her studio is a residential storefront with very large arched windows. Inside, they were covered with a frosted white diffusion panel providing abundant soft light. It is one large room with partial petitions for hanging each separate work. This is relevant as she works fairly large. This is all interesting but it was the art it that made this stop important. Laura paints large “non representational” work. I think I shall just describe it as “indescribably beautiful” and leave it at that. Locally, she is represented by Bruno David Gallery and will be showing in the next group show.

Finally, I had a chance to visit Mark Pappas’ studio last week. It wasn’t on the tour but it is one of the coolest studios in town. It is a converted Carnage library, brick and carved stone. Into the corner of the building are carved the words “Art” and “Music”. Mark is also a musician. It has two levels allowing the main floor for painting and the lower auditorium for music. We gathered there last week to paint. As I mentioned, I am looking for studio space if you know of any. More on what I need at my website: http://www.photoimage.com

Common Concerns

2008-04-08T08:28:00.005-05:00

This show offers a curious twist in that both painters, David Ottinger and Barry Sullivan, started their journey many years ago as fellow students under instruction of Wilbur Neiwald at the Kansas City Art Institute. "The overriding philosophy of that studio was the education of the eye through direct painting from observed visual reality." While there are distinct differences in the work of the two, there is also an underlying commonality which calls to mind the importance education plays in ones work. Add to this, that David has spent his career as an instructor at McKendree University. Some of the guests at the opening where associates from academia. Our system of art education, if not the backbone, is the foundation of artistic creation at the local level.
David's (on the left) work offers a natural approach to realism. Using passages of color, he creates a bold statement while staying true his subject matter. Sometimes working large, the effect is consuming. The subjects include still life. A trombone done in oil and another done in watercolor. The portraits include those of his wife, Mary Beth, and also his son. Painting loved ones has an added dimension of concern. David spoke of a painting of his wife that he was working on earlier in the day. Upon hearing her come home, he felt compelled to quickly wipe away the days work because it fell short.

Barry (right) works primarily on portraits and covers a wide variety of subject matter. Men and women at work capturing a slice of time and of community. Images likely taken from photographs of people at work. Strong and rich, they treat common elements in an artistic manner. He also uses family to model and goes outside the realm of realism to paint poetic narratives. In these, he intentionally leaves the shadow of ambiguity that the viewer may provide their own interpretation.

Common Concerns, curated by Tim Liddy, is showing at RAC from April 4 - May 11th

"Echoes from Manzanar ... If Walls Could Talk"

2007-03-06T08:18:00.000-06:00

Arthur Towata has spent fifty years mastering skills in pottery, painting, printmaking and sculpture. His current show at the Jacoby Arts Center in Alton, Illinois, is based on a life changing event of his youth. An American born of Japanese dissent during the unsettling time of Pearl Harbor, circumstances incarcerated him at the Manzanar War Relocation Center at the young age of 8. He spent the next three and a half years in confinement with his mother and 2-year-old brother. His father, by United States edict, was detained separately and Arthur never saw him again. The work is comprised of large acrylic paintings and pottery. During the opening of the show last week, Arthur spoke of the paintings and symbols incorporated which told the story of this time in his youth. Though a sad time, his tales still reflected the joy of his youth, putting melancholy to this work. For example, the painting in the image above, recalls his first view of the Milky Way, something blocked from him in LA. Another painting represents the clever tricks and creative avenues a child employs for amusement when left with limited resources.

Some of the credit for this show goes to Arthur's fellow artist and companion, Kate Morgan, who encouraged him to return to Manzanar in 2006. "While visiting Manzanar, Kate placed one of Arthur's lidded pots on the ground. Immediately, the creation blended with the natural landscape. Finally, clarity."
Arthur did not speak about his pottery other than to decline my probing. "What can you say about them?" was his reply. This was disappointing as they are fascinating work unlike any I have had the recent pleasure to experience. I would like to understand them better. Apparently, I am not the only one unable to connect with him on this. "When asked about the evolution of his ceramics -- the color, form, texture---he couldn't quite pinpoint the inspiration."

The Jacoby Arts Center is one of the newest art complexes on our east side.

Worley's Secret World

2006-11-14T09:51:00.000-06:00

In the late hours of winter, when snowfall has silenced the night, one senses the stillness of a different reality. Who among us believe they see as things truly are. For an enchanting moment one suspends traditional beliefs and entertains thoughts of another world.
Saint Louis artist, Ken Worley, spends a bit of time in this nether world. If you let him, he will take you there. He goes there, not in the silence of winter, but through the solitude of nature.
Recently, through coincidence of circumstances, I had the good fortune of being introduced to Ken. He is part of a small group of artists that regularly visit exhibitions, followed by lunch. My friend, potter Tim Eberhardt, is also part of this group. He invited me along. We went to the Rembrandt exhibit at the Saint Louis Art Museum. (Don't miss it) Ken is sort of easy going, much like his work. William Griffin introduces Ken and his work to the cyberworld through a short online video.
I have admired Ken's work for some time now, first at the Bruno David Gallery and later at the Gallery of Contemporary Art at Forest Park. The work is often described as landscapes of the Rockwood Reservation. His work is up again at the Bruno David Gallery so I took the opportunity to return and observe it more closely. To round out my understanding, Mr. David was kind enough to provide me with a number of articles written about Ken. Though these, I find Mr. Worley has been working the Rockwoods pine motif for at lease 20 years now. This refinement undoubtedly plays to the polished element of his work. There is a sense of the real surreal world. Not that fantasy, dripping watch one, but the other one, the one that exists in the quiet of a empty stage.
To accomplish this, Ken uses strong graphical elements. Pine trees, simplified into pointed ovals, sit on sweeping hills. Depth is introduced with stark shadows. Distortion occurs as the shadows are not uniform. This is all made agreeable through a subtle yet powerful use of muted color. His medium is oil stick which allows the creation of a painting which looks like oil but is actually very different. This comes to light when observing the incredibly sharp detail. They are etched in with a pen knife, rather that a brush. Ken Worley's paintings are immediately identifiable. His style is well defined. It is interesting to find while he continually revisits the subject matter, each piece of work is uniquely different.

Suggestions for November

2006-11-02T10:26:00.000-06:00

Just wanted to post a couple of events which may be of interest.

Studio Tour in Webster Groves Nov 4

Inspired Hands: A Show of Fine Craft - November 10, 11, 12, 2006

Cyanotypes Show Nov 10th

Art in St. Louis Quietly Takes Monumental Leap

2006-10-26T09:01:00.000-05:00

Opening ceremonies for the new Sam Fox School of Design and Visual Arts were not even mentioned in the local paper. While the opening ceremonies may not be newsworthy, the creation of this new complex is likely the most important advancement in art here since the creation of the Saint Louis Art Museum, over a hundred years ago. Part of Washington University, the new Sam Fox School of Design & Visual Arts, merges the school of art and the school of architecture, creating one of the finest art and design programs in the country. The school also includes a new building for the Mildred Lane Kemper Art Museum, one of the oldest teaching museums in the country. In addition, the new Earl E. and Myrtle E. Walker Hall was created to house sculpture and painting studios. Exciting.
As part of the ceremony, the public was invited to an open house in which we could browse though the schools five buildings.
School is in session and student artwork was everywhere. Remember your grade school open house? Most of the student work was, as you would imagine, raw. However, looking closer, one could find a piece stacked against the wall or tucked in the corner which would show true potential. Baby artists, coming from all over the country, even the world, to Saint Louis to grow. On occasion, these students will settle here, blessing our area with a lifetime of their work. For Saint Louis, this is the most important aspect of our new school.
For those looking for a little more immediate impact: A NEW MUSEUM!!! And let me tell you, it is gorgeous. The Mildred Land Kemper Art Museum is everything you could hope for, large areas for rotating exhibits, and a separate gallery to display their substantial permanent collection. - Pollock, Klee, Hartly, Miro, Picasso. The special exhibitions includes six prints, (lithographs and woodcuts) by Wassily Kandinski, "Kleine Welten Series" 1922. The museum is open to the public but, as it is a university campus, parking can be tricky.

STLCC

2006-09-17T07:26:00.000-05:00

The Saint Louis Community College System provides a primary source of nourishment for development of visual art locally. During summer, the Florrisant Valley branch offers a number of week long photography workshops covering such topics as large format, pinhole, and alternative photography. These workshops are designed to promote artistic interpretation in the photographic medium. I took the class in non-silver processes, Cyanotype and Van Dyke, taught by Christa Denny. A darkroom is available, and it was wonderful to have one available. However, these processes do not require one so I have been able to continue to work long after the workshop was over. I am now doing gum prints, a process which uses watercolor pigments as the toning agent. In addition, I am looking at ways to apply this technique to the ceramics class which I am now taking at the Forest Park branch. This class is held in the new Art Annex which also houses the print studio. Completely remodeled and opened this fall.
Of course, there is nothing unique about a college offering art instruction. What makes this system so important is the cost. Any artist in the area can get instruction and access to a studio with out reguard to how limited they may be financially. In addition, the instructors are artists. The system is providing support to working artists and the students are gaining by learning from those working in the field. Oh, and one more thing. Each branch has a gallery which is actively used. As a educational institution they are mindful to offer exhibits which are enlightening and informative of current movements in the art world.

Emerging Local Artists, on the National Scene

2006-07-31T10:05:00.000-05:00

The St. Louis Artists’ Guild is exploring new formats for its exhibition schedule. In the past, most shows have been juried and ran six weeks. They are now running eight weeks with at least this show being curiated. The "Emerging Local Artists" show was curiated by David Weaver of Art Dimensions. This group has been around for a number of years (5?) now, giving David the opportunity to meet a good selection of talent. Eight of our most dedicated local artists were chosen for this show. While each artist shows just two or three pieces, it is some of their finer work. The work shown above is by Justin Tolentino. Often working on found objects, this is on a sheet of rubber. As Justin continues with his stylistly edgy, street wise approach, he has added a new dimension in rich but subdued image laden background.Notably different, this work does not have the cartoon characturitures as in the past. I rather prefer this.
I have had the pleasure of working with Lyndsey Scott when we were both volunteers in an art based program to help "at risk" youth. Her work is some of the most interesting in the show. It uses a large variety of media as well as a number of different objects. The distressed framing is an intricate part of the work. Many fine details and symbolism to boot.
William Lobdell does found object relief sculpture, building 3-d models using objects one might see in the junk drawer of a workshop. The work is then masterfully painted with acrylic, making the work a cross between a highly textured painting and a beautifully painted sculpture. He generously offered to teach a workshop at the Guild which I am excited about attending. Art Dimensions is like a band of nomadic artists, displaying their work at various venus as opportunity arises. From under used storefronts to the "Taste of Saint Louis Fair" they are willing to do whatever it takes to get the work out before the public.
The complete list of artists in this show:
Alicia LaChance
Aunia Kahn
Cbabi Bayoc
Julie Malone
Justin Tolentino
Lyndsey Scott
Peat Wollaeger
William Lobdell
Their inspiration, histories, and styles are wildly diverse and challenge us to take a fresh look at the creativity offered by our local emerging artists.

Leslie Laskey: Realms

2006-05-24T14:56:00.000-05:00

I have a romantic notion of Art as a megalo entity which evolves with every brush stroke of creative thought. A land of fanciful direction and adventure. A box of chocolates.
I first encountered the work of Leslie Laskie when I saw the piece "Bis Suite (Citra)" at an earlier salon show in the Bruno David Gallery. I was pleased to find Leslie was to have his own show and went to the opening. It was well attended and much enjoyed by everyone. Asking around, I was soon able to identify Mr. Laskey. He is a mature gentleman with a welcoming smile and questioning eyes. A teacher.
I introduced myself and told him I was a fan. So easy to speak to, within minutes, we were as old friends. He asked what I was doing. I told him I work with ceramics. I also mentioned I run a Saint Louis Art directory web site. I was surprised to find he had read my comments about "Bis Suite (Citra)" in an earlier posting in this blog. I suppose that authenticated my position as a bonafide fan. Anyway, I secured an invitation to visit and to see his work in different stages of progression. One of the reasons I like the work is because it different. One of the reasons it is so different is because Leslie uses many different techniques in a single piece. These are techniques he has mastered during a lifetime of creating art. (I googled his name and found a woodcut print he created in the '60s.)
A piece could include stamping, painting, printing, stenciling, all in coherent development.

"In Realms, Laskey prints, paints and layers the circular or disk form, combining it with other shapes and marks. Laskey's circle is placed carefully, each piece a unique setting, an architectural space in which the entire structure as important to the whole piece as any element within it. The circle, is used in conjunction with a rectangle or rectangles and is explored as both part of an environment and as a realm of its own, including its carefully designed or selected frames. Laskey's media range from gold and silver paint and ink to house paint, sensuous papers and catalogs found on the street. Negative spaces are carefully considered, the colors he chooses subtle, bold and sensuous." -- Yvette Drury Dubinsky

Of course, the essence of the aesthetic is in the use of color. Leslie Laskey has mastered the use of color. Unfortunately, when asked, he had little to say about it. Perhaps it just comes naturally to him.
He also has a great appreciation for ceramics. He showed me some of his collection and offered the names of some of his favorite potters for me to review. We talked about painting and printmaking. I brought my camera and he let me take photographs of him for a cyanotype workshop I am doing this summer at Flo valley. As I was leaving, he showed me some very nice large photographic still life prints that he had just finished. Before I got there, I thought he would advise me to focus my art in single direction. Nope.
His work is showing at the Bruno David Gallery until May 27, 2006.

Collectors Choice V, Largest show of local artists

2006-05-16T09:31:00.000-05:00

The Saint Louis Artists' Guild and galleries will present Collectors Choice V May 19 - June 4, 2006. The artwork of over 200 different local artists will be displayed. I had a chance to see a preview last night. It gets better every year. Here is an excellent opportunity to see a very large selection of Saint Louis' finest artists' in a single show.

Charity Davis-Woodard - Pair - at Xen Gallery

2006-04-10T12:26:00.000-05:00

For the past several months, I have muddied my hands in a ceramics course at Meramec Community College. It is a very dynamic medium for creativity, offering shape, texture, color, and depth. From function to abstraction it provides a wide range of application. Such versatility provides the artist with incredible power to incorporate suble aspects of their personality into unique works of art.
Charity Davis-Woodard creates wood-fired porcelain pottery with accents of nichrome wire. As a functional potter, she strives to incorporate feeling and ideas into her pieces to make them usable and attractive. From her artist’s statement: “ What is most fulfilling and exciting to me, however, is the idea that pottery has the potential to function as expressive art each time it performs for the user” She strives to provide those cherished “favorites” among our collections of possessions. With the untiring grace of her pieces, she may well accomplish this goal.
Charity works with a style which, while not foreign, it is not readily identifiable either. Most of the work is done in a very soothing glaze of ivory with a soft sheen. This vase was wheel thrown and altered to give it a more rectangular shape. The lower fifth is toned with a band of amber which has been etched with precisely spaced fine vertical lines. The lines are then smoke darkened from the wood burning process. The side adds additional angular features due to the turquoise rectangular glazing. The edges are none the less, very much rounded, giving it that soft, touch me, appeal. A roof graces a number of her pieces, perhaps to remind us of the out doors. She lives near Edwardsville and strives to incorporate rural aspects into her work. This piece is well balanced with a sense of symmetry one would expect from one who has come out of the Dewey Decimal world. Charity recognizes the fastidious elements of her personality may overpower her work, making it too tight. She selected a natural way to loosen it up. She lets the natural process of wood firing soften the blow. Varying areas of glaze are darkened by the smoke, adding a random element to what would otherwise be meticulously thrown pots. Her work is currently on display at Xen Gallery through April 30th.

Chris Kahler: Impulsive Systems

2006-03-30T08:39:00.000-06:00

Kahler's work strives to incorporate synthesized concepts of biological science. Interesting idea. Science has always relied on illustration, but here it has been abstracted into the realm of fine art. Art and religion have long been related. Likewise with science and religion. Now we have art and science. Interesting idea.
The foundation of his work stems from the translucent colors emitted from light passing through the bodies of what seems to be multi-celled organisms. One direction uses a multitude of bright colors while another is monochromatic in blue hues. It has been received favorably by Post-Dispatch Critic, David Bonetti: "Kahler's paintings are undeniably beautiful, reminiscent in color and joyous affect of Sam Francis' midcentury abstractions".
These rather large pieces are beautifully presented at The Bruno David Gallery. The very tall ceilings there provide unique display for large pieces. A link to images of the show.

St Louis Marathon Art and Sole

2006-03-06T09:15:00.000-06:00

You can find the most interesting things to do on the Critical Mass list-serve. About a month ago, I accepted an invitation to join a workshop/open studio project to make 4' x 6' murals for the Spirit of Saint Louis Marathon. The project is part of "Art and Sole" and the murals are to be used as mile markers in the marathon. There are 30 artists participating and each created their own concept with only one guideline, the mural was to relate to running/walking. With such freedom, there is a great variety of work. The best part of doing this was meeting and working with all of the other artists. We all worked in one large room with usually 6 - 8 there at one time. Most of the artists have other occupations to make ends meet. It is interesting to see all the different ways they are able to pursue the creation of art and work it into their daily lives.
The work was done at the 2500 Ohio Art complex (studio space available) in the studio of Rich Brooks (left). Rich is our mentor and art coach and has been doing a great job. We started with a meeting of all of the artists so we were able to meet each other. Many already knew each other from doing this last year. The work is done for the most part on a volunteer basis. Even though everyone is motivated by the act of creating their art work, Rich is a master of motivating volunteers. This is a lost art in itself. There are two parties to celebrate the marathon and the artwork. An artists' Reception and open house March 19th 1-5 pm and a Rockin' Sole Party($) and Art Auction March 25th Both at 2500 Ohio Call 727 0800 for more info

Great Rivers Biennial 2006

2006-01-23T15:24:00.000-06:00

I once asked my 13 year old nephew if he liked one of my paintings. He answered "I don't understand it." Such a clever dodge from one so young. I know how he felt. This is how I feel about contemporary art. I don't understand it and find it aesthetically lacking. I try to understand it. I recognize the importance it carries. I wish I could appreciate it. I just don't get it. The Contemporary Art Museum St Louis sympathizes with my plight. It is trying to save me by offering exposure and education.
"The Great Rivers Biennial 2006 is a collaboration between the Contemporary and the Gateway Foundation designed to strengthen the local art scene in St. Louis." Three local emerging artists were selected for award ($15,000) and exhibition (1/20/06 - 3/26/06). The opening was well attended though the focus seemed more on the art of conversation. That's ok, a group centered on creativity makes interesting observations. It is a great space, well designed for a large gathering.
Interestingly, just as important as the well attended opening, was the artist's talk which occurred the following day. This is a regular routine at the Contemporary. Here, we were able to meet the artists and get an idea of what they were thinking. A rare opportunity when it comes to contemporary art. Moses, (pictured here) spoke first. Titled "The Audiophile Series" this work is comfortably straightforward. It deals with the way music is intertwined with our lives everyday. "The Audiophile Series" took root when Moses lived in Portland where recycling is encouraged. He came across speakers and turntables which were no longer functional but could still symbolize the music they once played. This is the foundation of Moses' work. To invoke memory's of the importance music has played in our lives. The piece "Two Turntables and a Microphone", 2002 has 1500 LP covers filed as though they may have been someone's album collection back in the day. Moses takes heart in watching viewers thumb thorough the covers as they recall memories of their favorites. Next to this is "Soundboard" 2004, (108" x 144") a block of 160 receivers, rack mounted as unit. It is 7" deep so it is just the fronts, but they were wired, and turned on so they light up, displaying the beauty of their youth. Many also had vu meters which bounced to the bass coming from another piece: "American Dream: We Like The Cars That Go BOOM!" 2004-2005. A completely black Chevy Blazer upon which the cones of 300 black speakers are mounted every available surface. Inside is a working speaker playing a deep base sound track. This piece pays homage to those auto audiofiles who own the upper bass decibel levels on the street. A most ambitious work and interesting indeed. The last thing he discussed was the three large photographs of Boom Boxes of the '80's. These recall a time when the birth of Hip-Hop music was brought to the streets by these portable devices. It was a form of a broadcasting system for the people. From all this, I gather symbolism and meaning are important elements of contemporary art.
Matthew Strauss was the next artist to speak. His work, "Dead Language" is comprised of nine large canvas paintings. Flashe, acrylic, acrylic latex, silkscreen ink and pencil. He explained in his exhibition, the concept behind the piece is the important element. He used an example of his work: "Notes from Pisa (How to Dig Yourself a Hole) to explain. The story was about a poet during WWII who produced hateful propaganda. After the war, Pisa was imprisoned in a gorilla cage on the tarmac. Strauss' goal is to formalize an idea using representative art. He built models and silkscreened photographs of them to tell the story. However, one could only make the connection if they already knew the story. Even if I did understand, I would question the use of a bird cage on a bench to represent a gorilla cage on the tarmac. None the less, I find the concept of what he is doing really interesting.
The third artist, Jason Wallace Triefenbach, worked in performance art and video. A very tough medium to deal with owing to its prevalence. He used music, spoken word, sculpture and props, taping for two days at the Contemporary to create a 4 part autobiographical narrative.
The Contemporary is doing much to deepen the experience while there. Upstairs, in teaching Gallery One and Two, a piece of contemporary art is reviewed and examined, currently Ernest C. Withers and Glenn Ligon: I Am A Man. "The teaching galleries will function as a tool for consideration of art work as the information is presented in simple format to provide the viewer with an intimate viewing experience.
Also, there are questions on the wall for visitors to think about and reply using post-its. One question, "What is Contemporary Art?" to which was replied: "Art keeps the patient alive during the operation of life" and also "Mostly Crap"

Photography: Daguerreotypes to Digital

2006-01-01T10:42:00.000-06:00

At our annual Holiday party, everyone in the photo section brought a print to exchange. We drew numbers and chose a print accordingly. The print which I brought went unselected. It was the last print standing. Ouch. As it was a party and I was well into the "spirit" of things, I tried to make light of the situation with a few jokes. They didn't like my jokes either. Ouch again.
None the less, I was grateful. It was a great form of feedback. It forces a honest opinion. All to often, among friends, work is appraised with the aim of offering encouragement. Actually, a painfully honest review would better help the artist understand what is "working". I just read a great article by Jerry Saltz in the Village Voice concerning criticism. "in most reviews there's no way to know what the writer thinks, or you have to scour the second-to-last paragraph for one negative adjective to detect a hint of disinclination. This is no-risk non-criticism." Offering genuine criticism is a risky endeavor. Since it is by nature subjective, offering it bares elements of oneself for others to see. This seems only fair as the artist is often naked too.

Another part of this, and the toughest of all, is self-criticism of ones own artwork. This photograph, shot by yours truly, is currently on display in the show titled "Photography: Daguerreotypes to Digital" until March 4th at the Saint Louis Artists' Guild. It was taken at the flood wall just south of St. Louis. Harsh light, flat subject, sharp elements, strong contrast, it is quite different from the nature photography I usually do. The photograph is interesting but I don't know if that is sufficient to consider it successful.
The utilitarian function of electrical conduit and panel on the concrete flood wall give way to an expression of art in the urban wilderness. Stenciling is used as the printmaker takes to the streets. It is interesting to note I saw the stencil of Curlie used in another show so I now know one of the hands that touched this wall.

This photograph of the Rocky Mountains is another piece which I have in the show. Critically speaking, for nature photography, it lacks strength in the mid tones. However, my goal is not really traditional nature work but to try and create a more contemporary effect and in this respect, I feel the piece works.

Brad Winchester, Dismantle

2005-12-12T10:27:00.000-06:00

I enjoy walking in the woods in the company of my wife, Colleen. My camera listens to the light as it whispers through the trees. On occasion, we come across a fragment of some remnant from a past dwelling, perhaps remaining bricks from the chimney or stones from the foundation. All are over grown with vines and brush. A tree, sometimes huge, may reside in what was once living quarters. Nature reclaims her domain.
I get the same sort of feeling from the "Dismantle" series of prints by Brad Winchester, one of which is on display at the Hoffman LaChance Gallery.
It is a tri-point etching with watercolors and charcoal pencil done on a beautiful, soft, toned paper. The etching is straight line, an obvious creation from the hand of man. It is not uniform, as though time has chipped away and dismantled it. The watercolors helps define areas which have print and together give the piece good depth. However, it is the charcoal pencil which sets this work apart. Fine line which is not straight seems organic in nature. Built up to compliment the watercolors/print, it provides shading for even greater depth. Printing was done in the Saint Louis Artists' Guild open print studio.
Brad, a graduate from The School of the Art Institute of Chicago, is currently working in oil on larger scale and has a show of this work in KC.

A moment of Art

2005-12-04T11:07:00.000-06:00

An entire floor of the nearly vacant Saint Louis Centre Mall was resurrected for just one day in Art Dimensions "Winterfest". It was like a child's Christmas story where inanimate objects are brought to life for just a little while. All of the stores on the third floor were filled with artwork. Artwork which was usually displayed in tents at fairs was showcased in glass and chrome storefronts. A real gallery setting, if only for a moment.
Art Dimensions is a great organization because its goal is to display the work of local artists. This lets me enjoy watching them grow and evolve. One such artist is a young man, Stan Chisholm. His work is embraces the newer style of stencil and 2-d graffiti. He is a student at The School of the Art Institute of Chicago. He took the train down for this show. This is one to watch.
Another "persons of interest", William Lobdell, offered two sculptures: one was a extension of his earlier work. A large mixed media wall piece of a 3-d model of downtown. "Colums and Cubes". This work is monochromatic. I must admit, I missed the beautiful and skilled paint work which I really like in in his earlier work. He also offered a most interesting multi media sculpture, "Driftin Away" 2004. A large orange fish with all manner of interesting additions.
Michael Sleadd, not from the city proper but close enough for me, provided a large display of his pen and ink (and a feather) work on paper. A skilled illustrator, Michael, lays naked the thoughts of an artist's mind. "I draw from the inside out" He is a professor at Columbia College

"Continued Colonies: The New Human Landscape"

2005-11-21T19:06:00.000-06:00

I like any song I have never heard before and going places I have never been. Reason enough to go to "Paint with Paint" on Friday. "Continued Colonies: The New Human Landscape", featured emerging artists from both the St. Louis and Metro East region. A former paint factory warehouse was transformed into a showcase for their talents. The show was mostly student work from my old alma mater SIUE. (BS CS) Though the main space is huge, it was still filled as nearly twenty artists were involved. Mostly paint, some ceramics, embroidery on paper, sculpture as well several indefinable conceptions which apparently leaked from the confusion of the student mind. The complex has been developed by artist Tim Ayres, a most gracious host and all around fun guy. He and I share common interests: family, construction, photography and paint. When I told him I went to SIUE, he mentioned "The Mississippi River Festival" We were the only ones there old enough to know what it was.
The building aged gently, but with character. In some areas, more character than the art. Viewing art in this setting is different. It is naked of fine wall for display. One needs to focus from distraction. On the other hand, the distraction was great fun. We really enjoyed this one.