Details from Matthew Ballou’s context
Details from Nathan Sullivan’s context
Detail from Catherine Armbrust’s context
Detail from Sloane Snure Paullus’s context
Detail from Derek Frankhouser’s context
Detail from Marcus Miers’s context
Craft Studio Gallery Show, Presenting Context
I’ve got an installation up at the Craft Studio Gallery of the University of Missouri in Columbia.
I proposed the show and brought in the additional artists and their works. See below for more shots of the installations and to read our group statement. Be sure to click on each artist’s name to see more of their excellent work.
The Reception will take place February 19 at 4pm. Hope you can make it. Check back here soon for some details from the installed contexts.
Work and Installation of Context by Nathan Sullivan.
Work and Installation of Context by Derek Frankhouser.
Work and Installation of Context by Sloane Snure Paullus.
Work and Installation of Context by Catherine Armbrust.
Work and Installation of Context by Marcus Miers.
Presenting Context Group Statement
Artworks are almost always presented to viewers far removed from the circumstances of their creation. The inspirations, research, sources, methods, and background information that form the basis for all artworks are usually unavailable to the audience. This amounts to a veil of mystery surrounding the finished work, masking and focusing it. Artworks appear to have simply sprung fully formed into the world, though we know this to be false. This exhibition proposes to change that – at least in some small way – by displaying singular artworks in tandem with the ephemera that lead to their creation. Alongside completed works, artists will show some background to the art: inspiring data, evocative objects, images historical and pop cultural, as well as the more traditional sketches showing trial and error. Taken together, these artifacts will serve to illuminate the experiences artists go through to process their ideas and actions into finalized pieces of art.
Exhibiting Artists
Visiting Assistant Professors Matthew Ballou and Nathan Sullivan
MU Graduate students Catherine Armbrust and Sloane Snure Paullus
MU Undergraduate students Derek Frankhouser and Marcus Miers
Beginning Painting, August 1997
In August of 1997 I began art school at Munson Williams Proctor Institute of Art. At the time the school was transitioning into the upstate extension campus of Pratt Institute. Bright, new facilities (the best I’ve ever had access to, anywhere, any time) were there for us to cut our aesthetic teeth on, and an energetic faculty with a sense of the coming transformation challenged a really great group of students during those transitional years. Recognized artists such as Sam Salisbury and Silas Dilworth, among others, were there in and around the same years I was.
It was during my first weeks there that I was exposed to two images that would define much of the next decade of my artistic life. There, spread out on a table in the large painting room were two books (among many others). Two images – one from each – caught my eye. The first was “Twilight” by Odd Nerdrum, the second was an iconic Ocean Park series piece by Richard Diebenkorn. I clearly remember the paradoxical exclamation that leapt into my mind as I gazed at the two works that seemed separated by a huge gulf: “I want to do THAT!” – meaning both.
I’ve spent the last twelve and a half years working to reconcile them. And though I’ve moved on to deeper and perhaps more legitimate inspirational sources and muses, I find that key moment during one of my first official art classes still hangs with me. I’m grateful for it.
MANIFEST “PAINT” Exhibition
Statement for the upcoming MANIFEST exhibition, “PAINT”
“…in a work of art every element, whether it pertain to perceptual form or to subject matter, […] represents something beyond its particular self.” – Arnheim
The brick is evocative for me because, in my contemplation of its form and metaphoric associations, it transforms. Its prosaic presence becomes a poetic musing on the human state.
A single brick bears a proportional relationship to the structure built from many similar units; one brick contains within itself an image of the whole building. This reflexivity between part and whole has energized the brick with symbolic meaning for millennia in many different cultures. Its presence as a signifier of component importance allows me to use it to refer to the accumulation of human knowledge: what we think we know and our attitudes about that awareness. The conceit that we can contain, format, and cross-reference everything knowable or worth knowing is widespread. Yet true understanding is often not as quantifiable or containable as we might hope. Bricks, as symbols, remind me of the good things we do, the wonderful intentions and desires we aspire to, as well as the negative connotations of the assumptions within which we often operate.
-Ballou, February 2010
Blaze
Plate Beauty
Dunes
Snow (January 2010)
Sand (May 2008)
Peter Voulkos on Technique
Seen written on a slate blackboard. In a barn outside of Glen Arbor, MI. In 2008. Click for larger view.
More on Voulkos here.
These Precious Things
We’ve gotten a lot of awesome practical gifts from friends and family in anticipation of Miranda joining us this coming May. Everything has been wonderful and much appreciated; it’s always humbling when friends find a way to be particularly thoughtful in joining with me in some joy.
But two of the gifts we’ve received recently have felt strikingly beautiful to me. I want to share them below…
An artwork by Jen.
This piece, a printwork created from many layers of oil monotypes, is related to a group of works that Jen Meanley showed at Manifest in Cincinnati, OH over the past month. Jen sent it out of the blue when she heard Alison and I were pregnant. I love it and feel honored to have it.
I know Jen from grad school. She was such a strong presence at IU; her paintings and intelligence both intimidated and awed me during my time there. I’m glad we have continued to communicate over the years and I love that her’s will be among the first art Miranda will see.
A rattle from Connie.
Connie Gillock is a longtime friend of ours. I first met her at Ox-Bow in the summer of 2001. Connie has shown herself to be a master gift-giver; it’s a skill she’s fostered in her daughters. I can sense the great joy they get from giving, and appreciate how they keep it simple and genuine. This beautiful silver rattle is amazingly elegant… I can’t wait to see it in Miranda’s hands.
Thanks, Jen. Thanks, Connie.
Roberta Smith on Art and Time
A great contemplation by the NYTs Roberta Smith from December 31st, 2009.
“Each piece of [art] is a concentration or distillation of ideas, inspiration, sensibility and craftsmanship into a frozen, obdurately physical moment that focuses our attention and then unfolds in the mind. Sometimes what unfolds is a chronological narrative conveyed by a single representative image or a series of them; sometimes it is an intense experience that seems to takes you out of time, yet persists and reverberates in the echo chamber of personal memory. Usually it is a combination of both.”
I couldn’t agree more. Read the rest here.
eikonktizo 