 |
 |
|
|
|
|
|
|
 |
|
|
|
December |
|
|
|
Mariko Ishikawa December 4th Another interesting aspect to this work is the manner in which the paintings are pieced together from several small parts; albeit with mixed results. The comprehensive imagery in the two larger black and white Untitleds comes off as a bit scattered and disjunctive. The individual facets constructing the whole are quite evident, which (admittedly) may be the point. On the other hand, the yellow-tinged Untitled is far more successful in presenting a cohesive visual experience. The work is constructed of three equally sized panels and from a distance you can just make out the two vertical lines that define the separation. Whereas the other pieces recall more of a direct relationship to an Asian esthetic, this piece relates more to contemporary abstraction. Notice how the repetitive patterning leaves the definition of space somewhat ambiguous and so animates the forms. And Ishikawa gets it just right with the color. The yellow conspiratorially weaves itself through the black and white forms to heighten and support spatial dimension. In the end an ethereal quality is expressed in which the imagery appears to float off the wall. The presentation of this show is a bit out of the ordinary for what you might expect of work on paper. Some of the smaller pieces are contained in conventional frames behind glass. But the three larger pieces are pinned directly to the wall. This might be due to the economy of scale but the overall effect is a benefit. The liberation from frames and glass provides a rare direct experience for the works on paper. As a result the work is stripped of �art object� connotations and is more authentically encountered as painting. The other thing about the direct experience is that you can get a clear, unobstructed view of how these pieces were created. Such an examination reveals that the artist skillfully employs transparent layering and bleeding of the paint into the paper. No easy task this, but Ishikawa is up to the challenge and addresses it in part by combining those smaller pieces to construct the whole. Given the challenges of the medium there is a �do or die� aspect in getting all of this just right. Ishikawa might be compared to a director of a play or film. Her actors are the individual pieces of painted paper which she then arranges to create the greater comprehensive production. Indeed the work, as a whole, is rather dramatic while also quietly contemplative. It is these two qualities that serve as a portal to understanding the content of Ishikawa�s art. December 4th We last saw Steve Baris� work at this gallery back in January 2002. That show featured a series called �Depth of Field� and consisted of Plexiglas panels with shallow drilled holes; some left clear and some painted on the inside. Along with the work on Plexiglas were a number of rather more painterly pieces that featured oil on Mylar. The underlying driving force for that work was a presentation of spatial depth perception. Baris� new paintings have dispensed with the drilled holes and instead employ acrylic and oil paint on the Plexiglas. The loose painterly elements are also gone from the new work in favor of a stark graphic quality. However, the depth perception remains and it is expressed primarily through atmospheric perspective. The shapes in the foreground are in sharp focus but gently dissipate as they are repeated and recede into the background. Baris duplicates this visual trickery with great success but subtly varies the mix and proportion of the forms from one piece to another. The most notable differences between the forms and the painting are found in the color relationships. Each piece is principally defined by its background color. There is the �red� one, the �chartreuse� one, the �yellow� one, etc. But you need to spend some time with the work to see how fully engaged are the subtleties and complexity of the color relationships. Look at Landscapes with Random Clusters #19 for example. The first take on this piece is that it is the �chartreuse one�. But now, look at how the hue is constructed from multiple shades of yellow and green and how the diffused clusters in the ground echo the shapes in the foreground. As you look more at the foreground clusters you become aware of how much color is actually represented in this painting. Besides the obvious black, white, red, blue and yellow colors, Baris manages to sneak in some earth tones here and there. So what began as simply a chartreuse painting is now revealed to be more colorfully complex. Also, based primarily on the color relationships, the rectanglular clusters seem to undulate within the picture plane. This animated quality is all the more reinforced by the sweet brightness of the color, which imbues the work with an understated sense of humor as well as providing pure pleasure for the eyes. The last thing to be said about this work is the affiliation between the concepts of random and order prevalent throughout the work. Each title relentlessly refers to landscapes and randomness which goes to straight to the heart of concept and content for these paintings. True, the forms are randomly shaped and placed. True also that the illusion of spatial depth suggests a very generic sense of landscape. Yet the forms are relatively of the same proportions and shape and are spread evenly across the ground. Baris magnificently works the associations between random and order as well as those between blatant and discreet color. It is this thin line of approach that saves the work from otherwise dissipating into pure design. December 4th Start from the point of view that these paintings are sinfully serial by design. The earmarks are all there: the even proportions of the canvases, the centrally located forms comprised of uniformly placed horizontal lines and, a universally muted palette. Schwalb relies on a solid methodology to create her paintings which raises the suspicion that the artist is a bit too comfortable with her work. What�s missing is an indication of struggle or a sense of �what if�. For example, what if these canvases were much larger? Would the methodology still hold up? Or would something less controlled and pleasantly unexpected emerge? Well, from the artist�s point of view this appears to be beside the point. It is the grouping of similar paintings to make a larger statement that defines the agenda for this work. Considered from such a perspective, the work is compelling in an unassuming way. A lot of this has to do with the comprehensive effect produced by grouping pieces together that are similar in tone. Look at the series of Mesa paintings set up in a line on the wall. Each piece holds up individually but the overall effect is what is important. The variation on number and length of the horizontal lines creates a sensation that references sound vibration; visual music if you will. In this context each piece functions like a musical instrument and when put together work as small ensemble. After awhile it becomes hard to take your eyes off them as a group. Schwalb certainly knows how to manipulate color and surface. In Red/White/Blue VI the smaller horizontal lines are evenly placed while the larger ones vary as to thickness and length. From a distance the color combination is both reductive and deliciously rich. On closer examination the larger lines suggest painful claw marks etched into flesh. But the �flesh� is the muted blue paint on the surface of the canvas. In this piece Schwalb has neatly and poetically abstracted the quality of the sensuousness; of pleasure and pain from any direct narrative reference. Throughout the body of work the artist repeats the effect. The forms are uniformly painted on uniformly proportioned canvases so that your vision is, for the most part, restricted to focusing on the variety of subtle differences offered. As with Steve Baris, Susan Schwalb�s content is found in the balance between order and subtle spontaneity. December 22nd The first thing you are apt to notice about this work is the color, beginning with the scene-stealing bright cadmium-red piece (for the color intolerant there is also a silver one and a white one). The color is consistently applied to each piece in a single hue and this is important because the color alone makes a comprehensive statement for the exhibition overall. In other words, the show itself becomes animated and alive because of the different hues defined by each piece. However as an element of each individual piece the color, whether bright, muted or neutral, integrates agreeably with the forms. On the other hand, if all of this work was simply composed of unfinished metal a significant portion of individuality would be compromised due to their similar proportions and construction. It is the color that provides just a shade more individuality which then forces the viewer to look at each piece that more carefully. A second take on this show is the feeling of walking like a giant among monumental public sculpture. Imagine walking about Artpark as a person of immense size, say, around 12 stories high and interacting with the sculpture on the grounds. These medium-sized pieces project a sense of proportion beyond their actual dimensions. Too small to be considered models for larger pieces, they play to an interesting quality of scale which places the viewer in command, though just barely. Part of the responsibility for this is due to the bases, which, like step-stools, raise the sculpture to within the range of human scale. So much for the quick responses. Given more time to take in the show, the sculpture projects an interesting kind of clunky elegance. This effect has much in common with what Frank Geary achieves in his architecture. Kiesewetter appears to cobble together his art from scraps of sheet metal in a manner suggesting sculptural collage. Even the bases possess a thrown together look as though the artist barely had time to assemble the final elements of the show. This is not meant pejoratively but rather as a comment on the all-inclusive sensibility Kiesewetter�s art embodies. From such a sensibility a number of things emerge beginning with the aforementioned elegance. The forms created by this particular arrangement of metal patchwork often result in classic abstractions. As you move about the work it continually updates your perspective. A wonderful balance is established between mass and space. In nearly every one the artist captures open space so that you not only distinguish the forms but also see through the piece and thus are aware of the negative space defined in the work. Notice too how the color and contrast shifts throughout the work. This is best seen when the work is experienced �live� and you have the opportunity to move around and shift your perspective. But even in photographs light and shadow play to great effect in defining the forms. Another unexpected feature of this work is the sense of humor it conveys. Look at the purple piece for example and how it suggests a mutant robot or perhaps one that was involved in serious industrial accident but, like a cartoon character, is able to walk away in full stride. Even as you enjoy the piece on this level it nevertheless possesses an engaging array of forms, contrasts and shades of color. In contrast to the sculpture, a small back gallery space features a collection of drawings by artist. While ostensibly studies for the 3 dimensional pieces they offer a rich esthetic experience in their own right. You might be reminded of di Suvero�s studies for his sculpture. But they also bear some comparison to Di Vinci�s drawings for his mechanical inventions or even to Walt Disney�s animation sketches. The combination of hard dark and confident lines with those that are softer and ephemeral pleasantly compliments the sensibility of the sculpture. In the end, for both the 3D and 2D art, Kiesewetter deftly blends his diverse aspects together in a mosaic where no one element assumes dominance. This, as much as anything, is what his art is about. December 22nd It�s been about 3 years since we last saw this artist�s work in this gallery and since then not a lot has changed as to the big issues (more about that later). The work is small to large in scale and, as before, conjures a myriad of references from primitive ritual objects to microscopic biomorphic forms enlarged to cartoon images to ancient tools of which their utilitarian use is no longer understood. Long�s sculpture is engaging and well thought out but also imbued with a disarming sense of humor. As with the sculpture of Thomas Kiesewetter, this all comes at you simultaneously as a complete package. Part and parcel of the comprehensive effect is the artist�s meticulous attention to craftsmanship combined with these rough-hewn, rather crude materials. Long carefully arranges and reconstructs what are obviously found objects and in so doing focuses our attention to the beauty of those materials. The underlying issue proffered is the confrontation of a sophisticated esthetic with a primitive one. Which is the better? Don�t ask Keith Long because he gives both equal attention. Another important aspect of this work is the attention they give to balance and symmetry. Long addresses this in a couple of ways. One approach is to arrange the components in a more or less even symmetry but then to mess it up a bit by letting one element stick out. A good example of this is found in the Cerf Volant pieces where in #6 that little tail form drops down in the lower right. In #7 the upper portion is evenly symmetrical but whole lower �tail� of this piece drops off and gently bends to the right. Long engages the same order/chaos question that so many grid painters wrestle with. But in his work there is a direct relationship to how symmetry works in natural forms; in the unusual ways equilibrium is often thrown off-balance by nature. The other method Long employs to address symmetry and balance is best exemplified in the two angel pieces. Here symmetry all but disappears but a balanced tension takes its place. In #2 the two �wings� of wood animate the piece and, given their oversized proportions, add an element of drama. The three primary forms that make up the piece are massive and the artist makes excellent use of the rich colors and textures native to the materials. The other Angel piece begins with a central vertical core that the other components work off of. Long provides plenty of visual weight for the piece at the mid to lower portion of the core. The two curved pieces then jut from either side like asymmetrical wings. This establishes stability for the theatrical juxtaposition of the very thin and very thick pieces at the top. Crucial to all this work is the concept that the choice of the materials is as important as their arrangement. As mentioned earlier the work has not change significantly and comprehensively since the last show. Is this important? The answer is, no. The changes that occur are strictly due to how each piece compares and differs from any other. Long�s issues have not changed nor have his working methods or esthetic. Yet his work is memorable because the objects he selects and how he arranges them is impossible to replicate. It will be interesting to see what his work looks like in, say, ten years and how (if at all) the subtle forces of time will consciously, or not, affect his art. December 22nd In the press release for her exhibition entitled �Nowhere Paintings� Adela Leibowitz claims that her paintings �were inspired by the manipulative conventions of the gothic, proto-slasher films of the �70s� the viewer is positioned as that stranger on the verge of being scared to death. Privileged detachment is about to be undone�. Okay� I�ll admit that they are creepy paintings; especially after encountering a roomful of them. And the heavy psychological (or should that be �psycho�?) reading is the starting point for this work. The imagery projects a suffocating quality of anxiety (actually (actually, for those of us with somewhat humble roots in then northern Minnesota woods, these paintings uncomfortably recall the horrors of mid-winter when Spring seemed like a laughable possibility or a horrible tease). But do they go beyond trying to scare the pants off you and is that enough? The interesting thing about art is that it often refuses to the stay within the confines of what the artist is explicitly attempting to express. Paintings, abstract paintings in particular, have an interesting habit of taking on a life of their own and thus opening up their meaning. And such is the case here. The imagery is so reduced to patterns of black and white that it tends to get lost or disappear for awhile. The extremes of contrast are given equal weight even as their proportions change from one painting to another. Leibowitz achieves this by eliminating all gradation except as occasionally defined by thick foliage such as with the tops of the trees in the upper portion of Struwwelpeter Road. But more often figure and ground get reversed (look at the detail to Right Back Where We Started From for a prime example). Beyond the imagery, these paintings have much in common with the abstractions of Motherwell, Kline and even Pollock to some extent. Obviously this is related to the high contrasts of black and white but also to the forms. The picture plane is often slashed (to borrow an appropriate term) by diagonals that result in an �X� of one kind or another. The most obvious examples are again found in Struwwelpeter Road and Right Back Where We Started From but is otherwise implied throughout the work. Having reduced her colors to black & white and then cranking up the contrast, it�s amazing how much mileage Leibowitz gets from these paintings. The weight, density and proportions of the forms differ considerably from one painting to the next. Compare, for example, The Juniper Trees and I See You: Liquid Logic where the former is composed of dense blocked out forms and the latter consists of thin linear elements as defined by the trees and brush. The effect in each is quite different even as the style and sensibility do not change. Considering the premise of Abstract Art Online one lingering question remains: is Adela Leibowitz an abstract or figurative artist? It�s true that she employs highly recognizable landscape imagery as subject matter in her paintings. However, that same imagery is put to a decidedly abstract use when considering the content of the work. The content begins with her avowed desire to create a general quality of heightened emotional anxiety in the viewer that also transcends the landscape imagery. The stark contrast in the form�s masses, the absence of color and the obvious or implied crosses created by forms also contribute to this. In the end it all conspires to open the interpretation beyond pure apprehension to include internal virtual landscapes; those uncomfortable places beyond the boundaries of what consciousness is able to handle. Such places might begin with the movie imagery suggested by the artist. For some of us the terrain may move on to memories of the long winters of Northern Minnesota and for others simply open up an undefined sense of loss, loneliness or sadness and beyond. One thing these paintings do not convey is a sense of well-being and comfort. |
|
|
|
|
|
|
|||||||
| |
||||||||||||
Copyright 2003, Abstract Art Online. All rights reserved. |
||||||||||||
|
||||||||||||
