Friday, September 19, 2014
Monica Zeringue, Narcissus, graphite on primed linen, 19″ x 31″ x 2″, 2014.
Michael Pajon, Loose Knots, Rope Burn, and a Superior Marquee, mixed media collage on book cover, 17″ x 14.5″, 2014
Installation: Was this your first time Jonathan Ferrera Gallery exhibited at Basel?
Jonathan Ferrera: This was our third time exhibiting at VOLTA Basel.
What were your thoughts about the Markthalle, did the space foster a creative environment for the work you showed?
The move back to the Markthalle was great. It brought the fair back to the center of Basel and right next to the train station so traffic increased considerably and the space is really fabulous. The dome is such a unique architectural environment that it really added to the overall aesthetic.
What was your overall experience presenting the work to an international audience?
We exhibit at VOLTA NY and at Miami Project in Miami, so we do have experience with international audiences. However the almost purely European/ international audience at Basel is a little different. They’re not as vocal in their engagement and definitely have a deeper understanding of Art history.
How has your presence at VOLTA influenced the growth of your gallery?
Every year we do better and better at Basel for sure, and there are always added benefits to being in Europe. The first year we actually sold Gina Phillips’ (who is actually from Kentucky) work to 21C Museum in Louisville and (after three years of my persistence), her solo show opens next month in Louisville.
Last year we sold Adam Mysock’s work to the major Berlin-based collector Thomas Rusche and now that work is part of a major exhibition traveling Europe right now. This year we had even more sales and developed great relationships including a relationship with the great Jochen Hempel Gallery with locations in Berlin and Leipzig. Afterwards, we went to Berlin where our galleries decided to do “a gallery exchange” show in 2016. There are always benefits beyond pure sales. Developing a new market, making connections and traveling to see exhibitions, such as the Venice Biennale and Documenta is a bonus.
What was the curatorial decision that guided the selection of artists presented at your booth?
We try to bring work that will make sense to an international audience. We have works that make sense as a group …
What narratives did they explore?
Nikki Rosato’s cut map piece explores the relationship between people and their “connection” by utilizing cut collage maps. Michael Pajon’s collage work creates its own narratives using historical materials to tell a new story and Monica Zeringue’s drawings refer to Greek Mythology and self-examination.
In what ways do you feel the themes between each artist related to one another?
They do and they don’t … sometimes we have to decide what works best visually so the works at the booth flow well.
How is the character of the artist reflected in the medium they worked with?
Every artist’s work is in someway a self-portrait.
Dan Tague, We Need a Revolution, 2011, Arcival Inkjet Print on Rag Paper
Kendall College of Art and Design of Ferris State University’s (KCAD) ArtPrize 2013 exhibition, “Designed to Win,” proved that an exhibition which engages viewers on multiple levels can have both broad popular and professional appeal. As ArtPrize 2014 draws near, KCAD Curator of Exhibitions Michele Bosak is working to provide an even more enriching experience with this year’s exhibition, “I Am: Money Matters.”
“I Am: Money Matters,” will raise bold questions about currency, consumption, and value and explore their influence on human beings, our emotions, and our understanding of the world around us. The small but highly talented roster of artists will include, among others, groundbreaking conceptual artist Mel Chin, who was a juror for ArtPrize 2013, New York-based visual artist William Powhida, and New Orleans-based artist Dan Tague. Far from an artistic treatise on American capitalism, the exhibition will also feature work from two international artists, one from Australia and another from Mexico, and seeks to create a dialogue about the different ways in which human beings decide what does and doesn’t have value.
Bosak deliberately sought out artists and work that would allow her to craft a cohesive viewing experience that will provide a number of different entry points so that anyone, regardless of their knowledge of or experience with art, can engage the exhibition in a deeply meaningful way.
“We want to maintain the high quality of our programming while also providing opportunities for people to create their own associations and forge a moving emotional connection to the work,” she said. “Value is not a black and white issue to any of us. There’s a huge gray area out there that we want to explore.”
During ArtPrize 2013, jurors and viewers alike praised the “Designed to Win” exhibition’s ingenious use of both materials and metaphors to inspire imagination and explore a diversity of ideas. As a result, KCAD took home the competition’s coveted “Outstanding Venue” award, and one of the exhibition’s pieces, “Through the Skies for You” by Kevin Cooley and Phillip Andrew Lewis, took home the juried award in the 3D category.
But what distinguished KCAD wasn’t having the highest volume of work or the most talked about entry; it was the fullness of the experience that “Designed to Win” had to offer.
“There are over 4,500 sq. ft. of space in The Fed Galleries at KCAD, but we’re not keen on overcrowding the space with work just for the sake of drawing a crowd,” said Bosak. “Our shows are designed to give the viewer mental and physical space to really spend time with the work, think about its meaning, and consider how they relate to what’s being presented. Last year it was gratifying to have that approach validated by a jury.”
To ensure that viewers will be able to fully explore “I Am: Money Matters,” the exhibition will officially open on August 21, a full month before the start of ArtPrize. In addition, The Fed Galleries will operate with extended hours for the duration of the competition: Tues-Thurs from 10am-8pm and Fri-Sat from 10am to 5pm.
Friday, September 12, 2014
Adam Mysock, And Abraham looked toward Sodom and Gomorrah,and toward all the land of the plain,and beheld,and,lo,the smoke of the country went up as the smoke of a furnace, 2011, acrylic on panel, 16" x 20"
Michael Pajon, Fish of the Flood, Beware the Swift Current and the Rock Shore, 2013, mixed media collage with hand drawing and book covers
Still from "Ping Pong Duet" performed at the Rauschenberg Residency #6, 2014
In the Shadow of a Giant
Opening Saturday, September 13th, 6-9 pm
September 13 - October 5
This summer Tony Campbell and Matt Vis of G.A.S were invited to attend the Rauschenberg Residency #6, in Captiva Florida where the painter Robert Rauschenberg made his home and studio from the mid 70's till his death in 2008. This selection of works created during the residency on Captiva Island will be on view at Good Children Gallery.
Tom Wegrzynowski, The Battle of Actium, oil on canvas, 34 x 26 in.
D. Eric Bookhardt on the 18th annual expo of contemporary art
It has taken a while, but visual artists are finally starting to chart their own course once again. For too long, the art world seemed stuck in endless reruns of the late 1980s, when postmodernism first became dominant. New York and London still can seem like well-preserved art bubbles where it's always 1990, but emerging artists are increasingly focusing on the 21st century's resemblance to a virtual reality where pervasive digital, wireless devices and genetically engineered plants and animals resemble a disorienting series of magic tricks. In this 18th annual No Dead Artists expo, the works on view are diverse, and many reflect unsettling shifts in nature and culture.
Terence Hannum's geometric abstractions with cryptic surfaces cobbled together from cassette recording tape recall geometric minimalism, but underscore our transition from tangible recording media to an age when music is downloaded and our hands never touch tape or vinyl. In Tom Wegrzynowski's Battle of Actium (pictured), pom-pom waving cheerleaders strut their stuff as a military firefight behind them underscores the similarity in how both wars and sporting events are presented as spectacles for mass consumption.
Beyond its spooky discarnate qualities, digital media also is a realm where not only does everything seem possible, but where many things actually do happen at once as people wander like distracted zombies in their overstimulating bubble of devices. Don Manderson's colorful digital montage triptych Schism is three-ring vortex where clowns, acrobats, businessmen in suits and anyone and everyone else navigates a tangle of pulsating electronic signals, and it reflects what the artist calls the "simultaneous and insistent nature of our daily sensory experience in an increasingly technical society." Not only are we entangled in a strangely spectral world of overlapping visual and audio signals, we often are addicted to and overwhelmed by them. As this technological web comes into focus, artists have once again resumed their traditional roles as society's proverbial canaries in the coal mines.