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Saturday, September 1, 2007
Lyndon House Gallery Juried Art Show 2007 Article
LHAC Juried Exhibiton
originally published February 28, 2007
Jonathan Jacquet's Merit Award-winning painting at the Lyndon House Arts Center’s 32nd Juried Exhibition.
The Lyndon House Arts Center’s 32nd Juried Exhibition is currently on view. This year’s juror is Leslie A. Przybylek , Curator of Exhibitions for Exhibits USA/ National Endowment for the Arts on the Road, the national traveling exhibit program of Mid-American Arts Alliance. For the current exhibition, Przybylek selected 162 pieces by 105 artists, from the 700 works that were submitted by 269 artists. Merit Awards were given to Beverly Babb, Jonathan Jacquet and Duane Paxson . Honorable Mention Awards went to Sarah Black, Ray Lee, Su Neng Lin, Cecile Martin, Judy Dudley O’Donnell, Erik Patten, Cliff Probst, Beth Richardson, and Abraham Tesser . Purchase Awards were given to Todd Stockham and Erik Patten ; their pieces will become part of the Lyndon House Arts Foundation permanent collection. Michael Klapthor received the Dr. Paul D. Haver Patron Award . And Lindsay Swan received the Newman and Nail Dental Associates Patron Award .
The exhibit includes artists whose work is familiar to locals, such as Lawrence Forte ’s impasto paintings of jars, Tad Gloeckler ’s mechanical sculptures, Barbara Mann ’s jewelry, Richard Olsen ’s walls, Dianne Penny ’s still-lifes, Mary Porter ’s abstracted interiors, Rene Shoemaker ’s silks, and Dan Smith ’s cartoonish heads with interesting haircuts. The exhibit also includes artists who have rarely shown in the area.
Upon first entering the gallery, three chairs by Abraham Tesser , fashioned from Italian sycamore and walnut, greet the viewer, and provide a glimpse of the high level of craftsmanship that is demonstrated throughout the exhibition. Jay Bauer ’s odd-shaped canvas and frame accentuate the slumped-over pose of the personified lioness and zebra he has depicted at an outdoor café
. Michael Marshall has two works in the exhibition: “Counting 13 Crows” and “Flight” frame photographic images on wood with a sculptural sense. “Flight” is an image of flying birds over 12 small images of a birthday candle struggling to stay lit.
Many of the works demonstrate an intense attention to detail. Among those are Judy Dudley O’Donnell ’s “Vintage Bottles” and “Rainbow Trout on Lu-Ray Platter.” Both paintings are stunningly realistic, like the work of Janet Fish. Krysia Haag ’s mosaic “Imbalance” has wonderful details in small bees and butterflies. J. Phillip White ’s found-image constructions might be prematurely dismissed by our technologically-jaded minds; but these images are hand-cut using an Exacto knife. White says he blacks out the edges with a Magic Marker before applying glue. D.M. Kirwin ’s “Sacred” has meticulous brushwork detail. Comusina Celan Hardman ’s “El Cerdo,” a portrait of a boy, his mother, and a pig, has been created with rectangles of color, in the style of Chuck Close or Seurat. Hardman’s style is looser and more playful.
Motoko Inoue ’s fiber sculptures are reminiscent of Kiki Smith, creating forms that speak of the body and strange connections. She has three of these sculptures on display. One is in black, and shows two figures sharing a head. Their bodies form a triangle, a codependency that is at once impossible and perfectly stable. Another sculpture by Inoue is purple in color, and is the reverse of the black one. Two figures, still lacking heads, have their upper bodies rolled-up like sleeping bags, with feet left visible. The presentation of the sculptures is such that the figures appear to have recently separated.
Drawing on the television for inspiration, Lanora Pierce has re-created film stills, one from a "South Park" episode, and another from a History Channel program. The oil-on-panel technique creates an opulent effect, made humorous by the television channel’s logo in the bottom left-hand corner.
Kinzey Branham’s plaster bust “Portrait of Dolores Spikes” is a continuation of a practice that dates back to ancient Rome. Earl Miller’ s “Georgia Mountains” and June Ball’s “Catching the Light” are traditional oil-on-canvas landscapes.
In a conceptual version of a traditional subject-matter, Maury Gortemiller ’s “Landscape” is a photograph of a landscape hung on the wall, photographing photography, as Sherrie Levine did with Walker Evans’photographs. Gortemiller’s “Landscape” holds more immediate interest by showing the wall on which the photograph hangs, making obvious the photograph’s place. Todd Stockham ’s photograph “Spy Kids” is a modern cityscape on a snow day. Soft footprints in the snow provide a resting spot for the eye, in contrast to the areas of great detail in the bricks and billboard. Stockham’s “Arms Wide Open” is a park seen through a fence with barbed wire. The viewer can question whether the fence is surrounding the park, or the parking lot from which the photograph was taken. Beth Richardson ’s photograph “Just Do It Naturally” depicts a grass-covered shoe. Safi Kheshgi ’s color photographs taken during his trip to Mecca are rich in saturated color with striking imagery of a much-visited area.
One benefit of viewing work in this setting is that connections can be made between the work of different artists. Artists can find other artists working with similar styles or media. For instance, the work of E.A. Simmons and Lyndon Tewksbury have similar qualities, as does the work of Erin McIntosh and Joey McCain . McIntosh’s abstract paintings have layers of activity like a collage of worlds, using dress pattern paper circles on the surface of the painting as design elements. McCain shares this use of surface-oriented circular elements. His use of concentric circles brings to mind the recent exhibit of Nina Bovasso’s work at UGA; and pencil marks in McCain’s paintings are similar to those made famous by Cy Twombly.
Amanda Burk ’s “Temporary Catalyst” is a large mixed-media silkscreen that combines an enlarged photograph of a 1950s audience with shapes resembling spaceships or stage lights. Katherine R. McGuire has two screenprints on wood in the exhibition. These pieces both leave areas of wood exposed. Her image of sheep is successful as both aesthetically pleasing and thought-provoking.
Don’t miss the glass case downstairs. In addition to award-winning ceramic “The Titan Returns” by Michael Klapthor , there is the poetically comical “Dragonfly Queen” by Jadalee McCarty . The 32nd Juried Exhibition will be on display through May 12. The Lyndon House Arts Center is located at 293 Hoyt St., 706-613-3623.
Salon des Refuses: Works that were submitted to the 32nd Juried Exhibition and not selected for inclusion were eligible for the "Refuses" show at the Clayton Street Gallery . With so many entries, "Refuses" should not be missed. There will be an opening reception on Friday, Mar. 2 from 6 p.m. to 9 p.m. at the gallery. The show is up through Mar. 24. Call 706-549-9299 for more info.
ATHICA Celebration: The closing event for ATHICA 's "Transience: The Paradox of Being" is this weekend. The weekend includes an ice/ mixed-media sculpture called "Encounters" by Zamila Karimi , a silent auction, raffle, and a walk-through discussion with artists in the exhibit. Julie Rothschild and Gaelyn Hurd will perform “Dance in the Salt” with accompaniment by Louis Romanos at 4 p.m. on Sunday, Mar. 4. This weekend is part of ATHICA's 5th Birthday Celebration . Check Out There! or www.athica.org for more info.
Benny Andrews: As a final note, Benny Andrews , the juror for the 30th Juried Exhibition, passed away in November of 2006. A reception honoring Andrews was held recently at Atlanta’s Mason Murer Gallery.
Beth Sale
Send me your art news at outthere@flagpole.com, and remember to put "Art Notes" in the subject line.
originally published February 28, 2007
Jonathan Jacquet's Merit Award-winning painting at the Lyndon House Arts Center’s 32nd Juried Exhibition.
The Lyndon House Arts Center’s 32nd Juried Exhibition is currently on view. This year’s juror is Leslie A. Przybylek , Curator of Exhibitions for Exhibits USA/ National Endowment for the Arts on the Road, the national traveling exhibit program of Mid-American Arts Alliance. For the current exhibition, Przybylek selected 162 pieces by 105 artists, from the 700 works that were submitted by 269 artists. Merit Awards were given to Beverly Babb, Jonathan Jacquet and Duane Paxson . Honorable Mention Awards went to Sarah Black, Ray Lee, Su Neng Lin, Cecile Martin, Judy Dudley O’Donnell, Erik Patten, Cliff Probst, Beth Richardson, and Abraham Tesser . Purchase Awards were given to Todd Stockham and Erik Patten ; their pieces will become part of the Lyndon House Arts Foundation permanent collection. Michael Klapthor received the Dr. Paul D. Haver Patron Award . And Lindsay Swan received the Newman and Nail Dental Associates Patron Award .
The exhibit includes artists whose work is familiar to locals, such as Lawrence Forte ’s impasto paintings of jars, Tad Gloeckler ’s mechanical sculptures, Barbara Mann ’s jewelry, Richard Olsen ’s walls, Dianne Penny ’s still-lifes, Mary Porter ’s abstracted interiors, Rene Shoemaker ’s silks, and Dan Smith ’s cartoonish heads with interesting haircuts. The exhibit also includes artists who have rarely shown in the area.
Upon first entering the gallery, three chairs by Abraham Tesser , fashioned from Italian sycamore and walnut, greet the viewer, and provide a glimpse of the high level of craftsmanship that is demonstrated throughout the exhibition. Jay Bauer ’s odd-shaped canvas and frame accentuate the slumped-over pose of the personified lioness and zebra he has depicted at an outdoor café
. Michael Marshall has two works in the exhibition: “Counting 13 Crows” and “Flight” frame photographic images on wood with a sculptural sense. “Flight” is an image of flying birds over 12 small images of a birthday candle struggling to stay lit.
Many of the works demonstrate an intense attention to detail. Among those are Judy Dudley O’Donnell ’s “Vintage Bottles” and “Rainbow Trout on Lu-Ray Platter.” Both paintings are stunningly realistic, like the work of Janet Fish. Krysia Haag ’s mosaic “Imbalance” has wonderful details in small bees and butterflies. J. Phillip White ’s found-image constructions might be prematurely dismissed by our technologically-jaded minds; but these images are hand-cut using an Exacto knife. White says he blacks out the edges with a Magic Marker before applying glue. D.M. Kirwin ’s “Sacred” has meticulous brushwork detail. Comusina Celan Hardman ’s “El Cerdo,” a portrait of a boy, his mother, and a pig, has been created with rectangles of color, in the style of Chuck Close or Seurat. Hardman’s style is looser and more playful.
Motoko Inoue ’s fiber sculptures are reminiscent of Kiki Smith, creating forms that speak of the body and strange connections. She has three of these sculptures on display. One is in black, and shows two figures sharing a head. Their bodies form a triangle, a codependency that is at once impossible and perfectly stable. Another sculpture by Inoue is purple in color, and is the reverse of the black one. Two figures, still lacking heads, have their upper bodies rolled-up like sleeping bags, with feet left visible. The presentation of the sculptures is such that the figures appear to have recently separated.
Drawing on the television for inspiration, Lanora Pierce has re-created film stills, one from a "South Park" episode, and another from a History Channel program. The oil-on-panel technique creates an opulent effect, made humorous by the television channel’s logo in the bottom left-hand corner.
Kinzey Branham’s plaster bust “Portrait of Dolores Spikes” is a continuation of a practice that dates back to ancient Rome. Earl Miller’ s “Georgia Mountains” and June Ball’s “Catching the Light” are traditional oil-on-canvas landscapes.
In a conceptual version of a traditional subject-matter, Maury Gortemiller ’s “Landscape” is a photograph of a landscape hung on the wall, photographing photography, as Sherrie Levine did with Walker Evans’photographs. Gortemiller’s “Landscape” holds more immediate interest by showing the wall on which the photograph hangs, making obvious the photograph’s place. Todd Stockham ’s photograph “Spy Kids” is a modern cityscape on a snow day. Soft footprints in the snow provide a resting spot for the eye, in contrast to the areas of great detail in the bricks and billboard. Stockham’s “Arms Wide Open” is a park seen through a fence with barbed wire. The viewer can question whether the fence is surrounding the park, or the parking lot from which the photograph was taken. Beth Richardson ’s photograph “Just Do It Naturally” depicts a grass-covered shoe. Safi Kheshgi ’s color photographs taken during his trip to Mecca are rich in saturated color with striking imagery of a much-visited area.
One benefit of viewing work in this setting is that connections can be made between the work of different artists. Artists can find other artists working with similar styles or media. For instance, the work of E.A. Simmons and Lyndon Tewksbury have similar qualities, as does the work of Erin McIntosh and Joey McCain . McIntosh’s abstract paintings have layers of activity like a collage of worlds, using dress pattern paper circles on the surface of the painting as design elements. McCain shares this use of surface-oriented circular elements. His use of concentric circles brings to mind the recent exhibit of Nina Bovasso’s work at UGA; and pencil marks in McCain’s paintings are similar to those made famous by Cy Twombly.
Amanda Burk ’s “Temporary Catalyst” is a large mixed-media silkscreen that combines an enlarged photograph of a 1950s audience with shapes resembling spaceships or stage lights. Katherine R. McGuire has two screenprints on wood in the exhibition. These pieces both leave areas of wood exposed. Her image of sheep is successful as both aesthetically pleasing and thought-provoking.
Don’t miss the glass case downstairs. In addition to award-winning ceramic “The Titan Returns” by Michael Klapthor , there is the poetically comical “Dragonfly Queen” by Jadalee McCarty . The 32nd Juried Exhibition will be on display through May 12. The Lyndon House Arts Center is located at 293 Hoyt St., 706-613-3623.
Salon des Refuses: Works that were submitted to the 32nd Juried Exhibition and not selected for inclusion were eligible for the "Refuses" show at the Clayton Street Gallery . With so many entries, "Refuses" should not be missed. There will be an opening reception on Friday, Mar. 2 from 6 p.m. to 9 p.m. at the gallery. The show is up through Mar. 24. Call 706-549-9299 for more info.
ATHICA Celebration: The closing event for ATHICA 's "Transience: The Paradox of Being" is this weekend. The weekend includes an ice/ mixed-media sculpture called "Encounters" by Zamila Karimi , a silent auction, raffle, and a walk-through discussion with artists in the exhibit. Julie Rothschild and Gaelyn Hurd will perform “Dance in the Salt” with accompaniment by Louis Romanos at 4 p.m. on Sunday, Mar. 4. This weekend is part of ATHICA's 5th Birthday Celebration . Check Out There! or www.athica.org for more info.
Benny Andrews: As a final note, Benny Andrews , the juror for the 30th Juried Exhibition, passed away in November of 2006. A reception honoring Andrews was held recently at Atlanta’s Mason Murer Gallery.
Beth Sale
Send me your art news at outthere@flagpole.com, and remember to put "Art Notes" in the subject line.
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