Restraint & Limitation Returns

Finally, after some serious delays because of COVID, the Chicagoland iteration of my curatorial effort Restraint & Limitation is taking place at the Riverside Arts Center.

The exhibition features the work of Anna Buckner, Sharon Butler, and Magalie Guérin. Click above to read more about the show and its themes. To see other included artists, look below:

Sarah Arriagada

Dugallou Collaboration

Michael Hopkins

Erin King

Elizabeth Powell

Elise Rugolo

Sumire Skye Taniai

Simon Tatum

Jennifer Wiggs

I’m very proud of this show and thankful in particular to Anne Harris for helping me to bring it to fruition.

Featured image above: Detail of Wiggle Room by Elise Rugolo.

Restraint and Limitation at Nebraska Wesleyan University

The second iteration of an exhibition exploring trends in contemporary abstract art is now on view at Nebraska Wesleyan University’s Elder Gallery. The first version of the show took place last year at The University of Missouri and the exhibition will travel again in 2019 and 2020.
The main change in this 2018 version is that additional artists have been added, moving the roster up to 20 individuals – 13 women and 7 men. The works have also grown in diversity, with more sculpture, assemblage, photography, and fibers works entering the constellation.
Works by Erin King (wall) and Sumire Taniai (on pedestals) appear along the title wall.
Two works by Ryan Crotty, a tiny relief fibers piece by Hali Moore, and four digital works displayed on iPads by Sharon Butler.

This show centers on the work of Anna Buckner, Sharon Butler, and Gianna Commito. A constellation of 17 other artists appear in this view into contemporary abstraction, and their work incorporates Painting, Drawing, Digital Drawing, Photography, Fibers, Assemblage, Collage, Sculpture, Relief carving, and other forms.
Sarah Arriagada, Anna Buckner, Sharon Butler, Gianna Commito, Ryan Crotty, Joel T. Dugan, Dan Gratz, Michael Hopkins, Erin King, Kristen Martincic, Marcus Miers, Hali Moore (Oberdiek), Justin Rodier, Elise Rugolo, Amanda Smith, Lauren Steffens, Sumire Taniai, Jm Thornton, and Jennifer Ann Wiggs have work in this exhibition. Click on their names to see their websites and find out more about their work.
Three works by Gianna Commito engage with three works by Amanda Smith in this view of the exhibition.
As you can see from the exhibition listing at NWU’s website, I’ll be at the gallery on December 7 to talk about the show and answer questions. I’ll also spend some time meeting with students and engaging with the school community. I love the chance to spend time in the space with the work and field questions in the moments of viewer experience. The works are meant to be seen, interpreted, and extrapolated.
Three collaborative works – collectively a “Curator’s Statement” – by myself and Joel T Dugan are seen here on the left. A wonderful dimensional graphite and folded paper drawing by Marcus Miers and two sculptures by Lauren Steffens continue to the right.
photo-oct-25-6-34-55-pm.jpg
This wall, featuring tight formations by Sarah Arriagada and Kristen Martincic, is one of my favorite views of the show.

These few views can’t really give you a true impression of the show. I hope if you’re nearby you’ll stop in. My efforts to curate interesting collections of works are definitely becoming more and more important to me as an artist and educator. Particularly, with an exhibition such as this one, I am afforded the chance to expand and contract a specific intellectual and aesthetic gesture. I find that tremendously exciting. This iteration of the Restraint and Limitation show is probably the most expansive version that will happen, so it’s intriguing to sense how constrained it still feels. I am passionate about small works that distill meaning and experience, defying long-held notions about what art is supposed to do.
Three amazing fiber works by Anna Buckner hold a wall next to a strangely evocative photographic/found object assemblage by Justin Rodier.
To close out this announcement post, here’s the bit of writing I had affixed to the title wall:
The logic of abstraction cannot be reduced to a few dudes painting in mid-20th century America. This exhibition is meant to present another view. Anna Buckner, Sharon Butler, and Gianna Commito, the three core artists presented here, show commitment to the aesthetics and procedures inherent in abstract painting while bringing diverse pressures, materials, and processes to the form.

 – Matthew Ballou, October 2018.


Photos in this post are by Michael Larsen.

Restraint&Limitation Exhibition at Mizzou

I have curated an exhibition at the George Caleb Bingham Gallery at the University of Missouri called Restraint&Limitation. This show features the work of Anna Buckner, Sharon Butler, and Gianna Commito, along with some people with connections to Columbia, Missouri – Hali Oberdiek, Jessica Thornton, Elise Rugolo, Lauren Steffens, and Jennifer Ann Wiggs.

Lauren Steffens’s floor piece, Rugolo’s encaustic work, and Gianna Commito’s sharp-edged abstraction in the exhibition.

It is a spare, economically arranged show. It’s openness grew out of my musings on abstraction of all sorts. I have long felt that bigger is not really better when it comes to abstraction, and I set out to bring together just a few examples of works that do this. Here is my curatorial statement for the show (a text/painting pair) with a number of shots of the installation interspersed. There will be a catalog of this exhibition available soon.

Detail shot of Ballou’s Curator’s Statement.

Curator’s Statement for Restraint and Limitation

Contemporary abstraction is a huge, multifaceted project.  From Katharina Grosse, Julie Mehretu, or El Anatsui to Cordy Ryman, Odili Donald Odita, or Amy Sillman, the range of potential and diversity of referent available to artists is obvious.

There are no clear boundaries, no distinct definitions that provide a unified perspective on the practice of abstract painting. That contemporary abstraction utilizes the history, physical interactions, and conceptual structure of painting is axiomatic. Yet to suggest that it is limited to the realm of painting is a dramatic misunderstanding.

Detail of Anna Buckner’s Dutch Still Life.

The old discourse that endlessly returns to the interplay between abstraction and representation has lost any potency to report on what is actually happening in much of contemporary abstraction. With this exhibition, I hope to present a sliver-like view into the modes of abstraction that intersect with painting as a form and which, in unique ways, demonstrate the limitations of depiction and representation to clarify the kinds of experiences that abstraction affords us. I also seek to show how smaller works may defy the conceit that abstraction is most powerful in its more monumental expressions.

Commito and Buckner works hanging in the show.

A side view of Butler’s four goodmorningdrawings and their presentation.

The three primary artists here are women from different stages of their careers. They show commitment to the aesthetics and procedures inherent in painting practice today, yet bring diverse pressures to the form. Buckner – a newly minted MFA – pieces scraps of fabric into small, taut grid fields. Butler – with decades of art making and writing behind her – brings us small digital drawings created on her iPhone. Commito – a mid-career educator and artist with broad impact – focuses on sharp geometries and wonderful chromatic synergies. Their influences – ranging from post-paint materiality to provisionality to traditional hard-edged painting – form an invigorating view into a restrained yet evocative corner of artmaking.

 

Detail of an Elise Rugolo work.

Grouping of Wiggs pieces, with Commito off to the right.

Post Script ~

I was particularly excited to have Butler in this exhibition – ten years ago we participated in an online “shared critique” event that took place on the now defunct Thinking About Art blog. I was writing about the work of someone else, but Butler was assigned to write about one of my paintings. I thought her response sharp, knowledgeable, and strong. Though she did seem to dismiss that work, I was pleased to have her voice address my art making, and I have followed her closely ever since. Her art making, writing, and blogging – especially with the influential site Two Coats of Paint – are important. I’m really glad to have be a part of this.

Another view of the installation of Butler’s works.