First Friday recap – downtown Raleigh teems with good art.
Don't Squeal McNeil by Keith Norval
Up to date news is not the style of this blog – I am, as Clyde reminds me, part of the Slow Blogging movement. No matter for this post – EVERY Friday is First Friday this December til Christmas, and you may easily recreate my journey with most of the galleries discussed.
Starting at Artspace as usual, I stopped by the front gallery to see Keith Norval’s opening of The Corporate Art Show. Keith has outdone himself in the wake of his new parenthood, along with the talented Ann Podris. Keith’s quirky rendering of goofy cartoon images with surprisingly subtle oil color and brushwork may or may not be your favorite style, but you can’t miss these hilarious concoctions of Angry Squirrel Customer Service, Rhino Dollar Bills, and Pig Salt.
This new series of oil paintings by Keith Norval explores the theme of business and animals. With the current state of things (environmental destruction, factory farming, extinctions) it seems animals would be better off if they had some kind of representation. …this show aims to give them their own voices. Artspace website
The blessed couple was upstairs in their gallery, dancing and swaying their little bundle into First Friday submission. Good luck, guys, and sleep when she does – you’ll need it!
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Down the street at Lump, more caricature and mayhem. Cannonball Press has a jam packed display, indeed “an irrefutable deluge of relief prints.” You could walk in here with a hundred bucks and get a lot of gift shopping done, if you have friends who like inyourface graphics.
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Up on Fayetteville Street, in what used to be my Dad’s barber’s basement shop, The Fish Market was showcasing an always widely varied and intriguing selection of work by College of Design students. Marie Formaro had some wonderful spires of canvas framed with metal, as well as a beautiful screen on canvas called “Ritual of Gesture.”
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Right down Hargett and upstairs is a truly fine gallery in a decidedly unflattering space. Adam Cave Fine Art stands up well to its claim as a home for national level talent. The current offerings that reach that level are mostly prints, from the precise yet softly diffused light studies by Donald Furst to the highly textured assemblages of interacting shapes in the woodcuts of Merrill Shatzman. My favorites prints were the alphabet and symbol studies by John Gall; intaglios with a hint of Bosch and a good dash of Rube Goldberg.
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While Adam Cave looks and feels like the former shopkeepers’ living space it is, the funky semi-amateur galleries at the top of Glenwood are intricate mazes of hopeful artists, all offering wine and cookies and hoping to share their wares. The Carter Building at 20 Glenwood and Point of View at 22 have a rich mix of artists, most of whom appear to have day jobs. Make no mistake – there are magnificent high spots in these cramped halls – and lows as well. I was thrilled to find Ellen Gamble and her abstract oils again after several years. Peter Filene‘s double exposures (no photoshopping at Point of View!) present well composed and strongly evocative images. And I’m always happy to have my horizons broadened by strong work in a realm I wouldn’t usually investigate – such as the fashion line drawings of Stephanie Freese, whose retro blackline compositions evoke a blend of the roaring twenties and film noire – and she turns out to be a fascinating comic artist whose online publishing work, pictured below, is revered by writers.
Dada Detective
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I make a late pass back east, heading for home but hoping to catch a couple of more spots. I have amazing luck. I finally catch up with Nancy Baker, whose Tire Shop Gallery started on McDowell, migrated to Glenwood, and has found a permanent home in the snazzy new building on Morgan across from the Flying Saucer. Her work, always at such a high technical level, captures scenes from Medici Florence to outer space with equal ease and insight.
They were ready to close shop at the Longview Center Gallery, which is curated by Rory Parnell from the Collecters Gallery. I asked the artist, Jesse Green, if I could see his light sculptures with the house lights out, and we had a neat experience looking at them in the dark. Then they scooted me out of this basement space where, believe it or not, my friends and I built a church coffeehouse in the late sixties.
I was the last customer at Carrie Knowles’ Free Range Studio, which held it’s last First Friday event. Carrie will concentrate on studio work and continue to have several events each year. Heading home, I realized I had missed DesignBox. You really can’t do it all.
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I took a break from finishing up this post to visit the Boylan Artswalk, where dozens of talented folks exhibit the first December Sunday each year. It was a chance to check on Rebus Works and their fine display of work from Penland, and to see a museum quality piece of cabinet work just completed by Billy Peacock down in the basement. BLAM! was exhibiting over at Lee Moore’s house, with previews of the Bain Water Project work. I will be posting much about the Bain Project soon. The Boylan neighborhood sported pet portraits by Emily Weinstein, linocuts and CDs from Gerry Dawson, pottery from Nancy Redman, coptic journals from Bryant Holsenbeck, and much, much more. Friday or Sunday, there’s a lot of creativity around this town!
Mixed Media Memories
Southern Living (Gators & Cottonmouths)
by Marty Baird
photograph by Mary Kay Kennedy
Lest I forget that cultural arts, not culinary arts, are the primary features of this blog, let me tell you about some of the wonderful art I’ve seen lately. The image above is from a great new show, Patterns of Memory, at the Miriam Block Gallery in the Municipal Building downtown through November 18. This piece really speaks to me as a Southerner, a naturalist, and a lover of intricately interlaced printmaking elements. Marty has incorporated real signage about animal threats into an intricate quilting of images that stimulate a slight discomfort in the way that cast iron “lantern boys” can, and yet strongly evokes a South deeper and wilder than Raleigh, and strongly rooted in the natural world. Every culture has its way of containing and humanizing nature and the South has a unique style in that regard. This piece seems to have interlocking ironies about animals, nature, people and race that keep me thinking as I revisit the piece.
Please click on the image above to enlarge this detail and see how you can get lost in the painterly intricacies of this piece. The various elements are brought together by a roughly sketched gate that represents the frame we always use to cope with our relationship to the flora and fauna around us.
The Block Gallery show also includes hand-tinted gelatin photographic prints by Alison Overton and an installation of assemblages by Scott Renk. Renk’s work, which is in the display cases on the second floor of the space, consists of highly personalized, realistic historical artifacts given iconic status by their inclusion in the quaint yet ironic structures created by the artist. At the reception, Scott confided that a viewer sidled up to him and asked “Have you seen the voo-doo houses?’ whereupon he informed her that he, in fact, had made them. Reminiscent of the eery feelings of injection into a past created by the Titanic show at the NC Museum of Natural Sciences, these windows back into time are worth a look. My snapshots are below (with thanks again to Mary Kay Kennedy for the pristine images above).
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Artspace: Now in Print: Printmaking Invitational
Exhibition: September 13 – November 15, 2008
The exhibition presents a glimpse into the diverse methods and techniques within contemporary printmaking today. The exhibition features a large woodcut banner by Cannonball Press (NY); intaglio monotypes by John Ford (NC); deconstructive screenprints by Julia Freeman (WA); engravings by Oscar Gillespie (IL); multiple color woodcuts by Endi Poskovic (MI); and vitreopgraphs by Dan Welden (NY).
Artspace has a very strong show in its main gallery. It certainly isn’t a broad show, with just six artists, but each type of work has its own area of the room, and these are large scale pieces with highly varied techniques, so they need it. Largest of all is the fantastically huge patched-together woodcut print by the team of Martin Mazorra and Mike Houston, aka Cannonball Press.
The artists say this piece is about the American perception of the economy as diety. It dominates the room, but also breaks into individual visual narratives as you get close. The price listed on this piece is a slightly astronomical extrapolation ($6000) of the sixty buck high quality prints for which this team is famous.
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Rebus Works has a strong political show which includes pillow portraits of Sarah Palin and stunning pieces of hand-laid paper. Below is a description of those pieces. I have to mention that Cara and I used garments from old romances ( as well as objects old, new, borrowed and blue) to make the pulp for our wedding invitations. Combat Paper is a much more profound use of the idea, but the idea is not new. Having that perspective made the work all the more powerful for me.
Combat Paper is a collective project based in Burlington, Vermont. Created as a vehicle for returning Iraq war veterans to reconcile their experiences through art, veterans involved in this project use their uniforms to make paper. This hand-made paper is then incorporated into prints based on their experiences. Contributing artists for Pro/Con are Drew Cameron, who served in the Army and is the director of the Green Door Studio, which is home to Combat Paper and Jon Michael Turner, who served in the Marine Corps in Haiti, Fallujah and Ramadi. These pieces provide a first-hand look into the effects of war, and the experience of those who have served.
Rebus Works deserves praise for their bravery in showing these artistic acts of true patriotism. Sarah Blackmon, involved in half of the shows in this post, continues to bring challenging and highly creative work to our local galleries.
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Stillness and Spirit: Paintings by Susan Toplikar
Frankie G. Weems Art Gallery
September 7–November 2
Susan Toplikar has a magnificent, career-capping show at Meredith. The link will take you to a sumptuous color online brochure (pdf), which includes extensive statements by Susan, the curator and another artist/writer. Six major oil works comprise a series that explores multiple levels across each of the fundamentally similar pieces. The horse images derive partly from Susan’s experiences of the cave paintings of France’s Dordogne Valley. The harlequin pattern that borders each piece derives from ceramic tiles she saw in Avignon on the same trip. The painted sticks which so exquisitely insert themselves into the oil paintings “reference a part of the horse’s anatomy or [alternatively] the role of the horse in our collective history.” There is a wonderful interplay of themes and techniques, but the real reason to go see this show is simply to enjoy the fusion of skill and emotion in Susan’s gorgeous oil paintings on linen. The horses evoke the archetypal Ole Paint of our cowboy dreams, visioned in the smoky memories of cave art, and framed with elements that help bridge the eons. These horses will move you!
The park with museum included picks up steam.
Lowe’s Park Pavilion, 2007
Mike Cindric and Vincent Petrarca
Steel, wood, and aluminum
Designed and built specifically for this site overlooking the Piedmont prairie meadow at the NC Museum of Art, Lowe’s Pavilion is “art-as-shelter.” Mike Cindric, as model builder and general technical guru, has been behind the scenes with a host of interesting projects over the years, and I’m thrilled to see him get such a prominent placement for his work, though I’m still mourning the removal of the Patrick Dougherty twig and branch castle recently removed from nearly this same spot. Lowe’s Pavilion has earned a merit award from the NC AIA, and a Sir Walter Raleigh award as well. The metal skin of this outdoor classroom or meditation space changes with the available light, helping to integrate the inhabitants into the natural spaces around the highly sublimated structure.
Mike has created a unique feel inside that highlights the experience of surveying the wonderful sculpture garden, heirloom prairie garden, and wooded hillside trails that have taken shape on the huge campus of the museum. These amenities are the long fruition of one of the few positive trade-offs in the museum’s decision to leave downtown. A few more outdoor images are below.
This place is well worth visit aside from the museum, whose new exhibition space is shown in progress below. The liason with the Raleigh greenway system is also a strong piece of the project. If you haven’t made it yet to the bridge over the Beltline, do it soon! And stop by Lowe’s Pavilion to catch your breath!
Art is where you find it.
With a heads-up from Ron at Sadlacks, though I got my postcard (but mislaid it), I was off to Wendell Saturday morning. Time for another show at Lovejoy Pottery. Dan and Nancy have become old friends, but they were old guard and I was new when I first met them in the mid eighties. Dan was a big part of the Raleigh Artists Community, a late seventies art entity that I wrote a feature article about in FARCE!, the newsletter of The Paper Plant. RAC was a huge part of the development of the arts community in Raleigh, and provided some interesting memories along the way. Quoting that piece:
The house at 908 West Morgan Street [just across from Irregardless] served as gallery, studio, hang-out and apartment house to various NCSU and Raleigh artists. The atmosphere was informal, very informal by all accounts. Lovejoy, who lived in the house, described the atmosphere as “totally chaotic but a lot of fun.”
Copper Rain, Joy Haymore, Jeff Emma, Willis Williams, and Jeannie Thompson were all founding members. Later current Raleigh artists such as Sharron Parker and Madonna Phillips joined. The group organized art festivals on Fayetteville Street Mall and at Pullen Park, proposed the art center that eventually became Artspace, and in 1979 joined with the new Raleigh Arts Commission to sponsor “Downtown September,” which now goes by the name Artsplosure.
The Lovejoys proudly display this sign and continue to do their pottery. Dan paints his huge, mythical figurative acrylics. Nancy has made most of the bowls and ceramic cups in my house. They have these shows, with an open studio feel, and 6 to 8 local artisans, all well established pros, come in and display their work. Besides the Lovejoys, Marsha Owen, Nancy Redman, John Garland & Mary Paul, and Alan Tingen all participated this year. Cara and I have shown there several times in the past and probably will again.
Lovejoy Pottery is on Watkins Road, just off Rolesville Highway, off 70 East out of Raleigh. It was fun to mix purveying art and visiting with some country driving. I always take the back way home – Watkins to old Milburnie and past the Milburnie Dam. The rural scenes were nifty!
And then to cap it off, here come these young fellows, barreling along in their buggy!
White Squirrel Update
So I start this blog just as I’m furiously finishing my school year. Before I know it, time for a 6 day Env. Ed. teachers camp in Brevard, home of the white squirrels. I get back, and my nature blog’s been attacked by a robot hack and has to be rebuilt. Take care of that and promptly get sick. Rare visit to the doctor, start my Z-pack, and it’s time for the week of full time teaching at Artspace I’m in the midst of. So that’s why I didn’t tell you sooner,
I’M FEATURING AT ARTSPACE’S STAMMER THIS FRIDAY NIGHT!!
Stammer is a wonderful, quirky, imfamously late-running, over-packed event that very much follows in a direct line of downtown open mike traditions reaching back to The Paper Plant. Mz Julee, seen below, ministers to a fervent and incredibly diverse cast of performers. Stammer has seen experimental music, health department sex ed films, a massuese interspersing his body work with poetry, break dancers, and along the way a few poets. The audiences are usually large and appreciative. The open mike runs late in the event, but always has pleasant surprises. Doors open at 8 o’clock – an early start that will be part of Artspace’s “First Friday after July 4th” event, which is being celebrated by several other galleries, such as Adam Cave and Flanders.
I can’t wait to get back to health and time to write – it’s been a great early summer for art. Susan Toplikar opened a fantastic show consisting mostly of a deconstructed notebook of bird drawings, her husband Mike Cindric has a fascinating new structure at the Art Museum, and Artspace has an interesting artist in residence working on an installation to open later this summer. I should mention that Grimenesa Amoros had a show in Miami extended to August 31. Images of her work and more about all of the former will come soon.
And if you want more of the white squirrels, you’ll have to check Raleigh Nature – after I get caught up!!
update
the white squirrel post
and picture album
raleighrambles.com
portrait by Guillermo Velasco
Raleigh Rambles 