Tag Archives: prints

In Otherworlds

Massecre at intelari Chapel
Tower of Babble by Dan Hernandez

In Otherworlds, a 2-man exhibit of paintings and prints by painter-digital collagist Dan Hernandez and master draftsman-printmaker Craig Fisher, is on display now through September 30 at 20 North Gallery in downtown Toledo. These two Toledo art visionaries allow imagination to take them—and us—to places that seem at once familiar and uncanny. The source materials for each artist, along with differences in technique and material, result in two very different, but complementary, bodies of work.

Craig Fisher, who works as a designer of business-to-business learning tools in addition to his prolific artistic output, works within the confines of traditional fine art printmaking. For this exhibit, he has created worlds that incorporate recognizable elements in improbable ways, transforming and recombining features  from renaissance landscapes, natural history illustration, classical architectural drawings and more, into intriguing and often surreal scenarios.

The print Astronomie Nova illustrates Fisher’s method: He juxtaposes an aerial view of a gothic church ruin with a schematic drawing of a complex geometric form, setting up a complex tension between physical environment and the unseen— but just as real– universe.  One of his most satisfying pieces, Tower of Babble combines an over-scale rotary phone in the foreground with a period illustration of the tower itself in the background, Communication technology-related superstructures surround and top it and it’s difficult to tell if the tower is being built or destroyed.

Sometimes less is more, and Fisher’s strengths as a draftsman can occasionally result in over-elaborate and confusing compositions. But it’s hard to argue with or second-guess the artist’s commitment to his vision and his single-minded pursuit of it.

Dan Hernandez, currently an Associate Professor of Art at University of Toledo, creates paintings where saints and angels mix freely with computer gaming figures. Elements of Persian miniatures, Renaissance urban landscapes and Chinese pavilions collide and morph into a persuasively imagined and often beautiful world. This oddly convincing pastiche of styles and periods is the product of Hernandez’ youthful gaming hobby and his studies in art history, which included a trip to Italy as a college student, where he was captivated by the ancient frescos of Pompeii.

Hernandez maintains a large archive of online images, from haloed renaissance saints to invading space ships, which he repeats and re-combines imaginatively in his world-building endeavors. He uses photo transfers of these seemingly incompatible images to create realities that have internal consistency  and project a mood that is both comic and mysterious. In The Annunciation, he has imagined a funny and improbable street rumble between the Virgin Mary and the Angel Gabriel in a medieval Italian town. In another artwork, The Massacre at Intelari Chapel, a battle between computer gaming figures and renaissance-era characters rages across the bottom of the composition, while above, three levels of coins similar to those in a computer game imply ample rewards for the victors, and saints look on from the heavens while consulting a Super Mario map.

In Otherworlds provides a provocative look at imaginative visual storytelling by two talented Toledo artists and is well worth a visit. 20 North Art Director Condessa Croninger comments, “Despite the dramatic differences in media, visual style and subject matter, the works of these two distinguished area artists juxtapose like themes of science & technology with spirituality, as well as the combination of old and new media, to explore the metaphysical concept of the ‘otherworld’—the varying layers of existence between humankind’s experience of the “real” world and the world of belief. This combination creates an intriguing, thought-provoking and unquestionably beautiful exhibit.”

Gallery hours are Wednesdays through Saturdays from noon to 4p.m. Patrons also have extended opportunities to enjoy the exhibition during after-gallery hours at Venue, 20 North Gallery’s cocktail lounge, which is open Wednesdays through Saturdays from 4:30 to 9 p.m. (This review is re-posted from the August 15th edition of the Toledo City Paper.)

Tower of Babble_colored intaglio CMF etching_by Craig Fisher_24 x 18inches_Artist_s Proof
Tower of Babble by Craig Fisher
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Text/Media

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Underdog by Christopher Schneider

We live in a hyper-literate age of endless imagery and short attention spans.

We seldom pause–and really, when do we have time?–to consider the process by which we create meaning for ourselves from the constant  interaction of  words and pictures in books, magazines, on television and the web, on our phones.

In Text/Image, now on view until June 3 in  Ann Arbor Art Center’s Gallery 117,  Detroit-based artist/curator Jack O. Summers has thoughtfully collected for our consideration some  artworks that refer to everyday objects whose meanings “are enhanced or subverted by the multi-dimensional interplay of text and images.” The exhibit concentrates on still imagery, leaving aside the more kinetic treatments of text and image interaction such as  video and animation.

There are several artists represented  in Text/Image who are well known in Detroit for their absurdist take on the news and pop culture, using the vocabulary of comics and newspaper to communicate their point of view.  Ryan Standfest, gifted printmaker, founder of the Rotland Press and trickster artist, composes headlines for his imaginary tabloid newspaper the Modern Vulgarian (#1) that raise more questions than they answer and classified ads that go gleefully off the rails.

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The Modern Vulgarian #1 by Ryan Standfest

William Schudlich, illustrator and self-proclaimed “social zoologist” is clearly a kindred spirit.  Schudlich’s images  employ the visual vocabulary of disposable print media  such as comic strips and have the look of early to mid-20th century comics.  He approaches  visual challenges, he says, “with a dark sense of humor whenever possible.”  Tom Carey’s large relief prints, while ostensibly mining the same classic content as Schudlich and Standfest, project a more modern effect with their vivid colors and lively compositions. The small wooden mutoscopes (flipbooks in wooden boxes operated by pushbutton) created by Andy Malone also fit comfortably with the sensibilities of Schudlich and Standfest by appropriating of a vintage craft and  re-purposing it to make a modern statement.

Two notable Detroit photographers, Christopher Schneider and Bruce Giffen, appear in Text/Image. In Schneider’s Underdog, the word “Hamtramck” printed on the young football player’s jersey adds context and pathos to the inward-looking figure, isolated as his teammate looks away toward the light and movement of the game. His fellow photographer Bruce Giffen, whose sharp and poetic eye is trained on Detroit at all times and in all seasons,  juxtaposes text with context for special resonance in his photo Stay In School.

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Whole Foods by Jaye Schlesinger

Taurus Burns, Dencel Deneau,  Jaye Schlesinger  and Amy Fell all engage in the reification of the ordinary, each one observing with care and archiving with skill the unglamorous objects and often unsightly minutiae of the urban landscape.  Deneau’s small glass mosaics, in particular, are improbably lovely memorials to fleeting moments in the life of a city.

Moving from the grittily observational to the poetic,  Scott Northrup’s gauzy collages are cinematic and  nostalgia-soaked. Self-Portrait with Fruit by John Gutoskey is somehow both cheerful and sad,  and  recalls the innocence and the pain of a young boy growing up gay in the Midwest. Like Gutoskey’s quasi-installation, Believers by Catherine Peet hardly needs text to make its point, harking back to medieval altars of a pre-literate age.

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School Bus by Dencel Deneau

Before the printing press and universal literacy, the visual impact of letters was as important as the narrative meaning.  Randy Asplund creates contemporary works using the same methods as medieval illuminators;  the pigments, grounds,  text and image are all carefully chosen for their symbolic resonance, each re-enforcing the meaning of the other elements. Taking the opposite tack, Alvey Jones subverts the meaning of text in Language Text and Circuit Board. Each element of the artwork is designed to be unintelligible–the book is (literally) Greek to us, the circuit board holds its meaning in a code we are unable to penetrate.

Barbara Brown, eminent Ann Arbor book artist and curator of a yearly survey of all things art and book-related, entitled Beyond Words, here uses her collection of handmade building blocks, Metropolis, to think playfully about the way reordering words or letters can alter narrative.

Text/Image can be understood best as a survey featuring a cast of accomplished artists, any one of whom could fill the gallery with well-crafted and well-thought-out work. The art in this exhibit thoughtfully uses language and image together to address  a variety of themes  from autobiography to social commentary, and while curator Jack O. Summers has put together an interesting and beautiful exhibit, the subject is far from exhausted and possibly never can be.

For more information about Text/Image go here

 

Art Now: Printmaking

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I Dreamed I Could Fly,  by Art Werger

It’s a challenge to write about the current exhibit Art Now: Printmaking, installed in Gallery 117 of the Ann Arbor Art Center, not because there is so little to say but because there is so much. Art Now is the third in a series of large group shows of artworks sorted by media. No less ambitious than the first two (devoted to painting and photography), Art Now: Printmaking shows us how fine art printing in all its variety stands at the busy crossroads of traditional media and advancing technology.

Juror Tyanna Buie, an accomplished printmaker in her own right, has selected artworks by 86 artists from all over the country that describe the ways in which the methods of printmaking can be stretched to their outer limits and combined  with other techniques such as collage, painting, drawing and photography, to name only a few.

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Mud Philosophy by H. Schenck

Traditional printmaking is a craft as well as an art. The process is exacting and rewards methodical attention to draftsmanship, registration, consistency– and there is no shortage here of artists well qualified to work within the constraints of the media. I especially liked many of these traditionally produced  prints –silkscreens, woodcuts etchings and the like–  because the artists have found freedom of expression within the limitations of their means. A particular favorite is the dreamlike suburban landscape I Dreamed I Could Fly, an etching/aquatint by Art Werger, where the warm, low light of the late afternoon sun washes over a scene of perfect order, the world held in stasis for an eternal moment. Hunter’s Moon Dancer by North Dakota  artist Linda Whitney, a finely observed and expertly drawn mezzotint (and winner of Second Prize) is deeply satisfying in its symmetry and rhythmic patterning. Winning my own personal and unofficial prize for staying on topic is a pair of deeply saturated green and gilt silk screen prints, Gold Nah Dar Gold by Chad Andrews, in which the image and the process are synonymous.

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Hunter’s Moon Dancer by

Although there are many excellent examples of  well conceived and well executed printmaking here, a visitor’s  attention is inevitably drawn to artworks that surprise us with their idiosyncratic juxtaposition of media. It is entirely unexpected that taxidermy would figure in a print show, but there it is in Ashley Shaul’s But She Looked Friendly, which features a furry raccoon with a meticulously rendered tattoo on her backside.

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But She Looked Friendly by Ashley Shaul

Combining different types of printing, painting, collage and photography seems to be a favorite strategy for many of the artists represented in Art Now: Printmaking. These works are technically monotypes and utilize the syntax of various print media in combination to arrive at artworks which  go far beyond the technical simplicity of the traditional monoprint.

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Cul-de-Sac by Zack Fitchner

One of my favorite one-of-a-kind  prints, Mud Philosophy by H. Schenck of Grand Prairie TX, makes the most economic statement possible, using Washington mud marked on glass and run through a press. Another multi-technique monotype success is Cul-de-Sac by Zack Fitchner of Charleston, West Virginia. He uses lithography, woodcut, monotype and chine colle to evoke the overhead racket of planes taking off from an urban airport. The artwork that won Best in Show is one of these everything-and-the-kitchen-sink type multimedia extravaganzas too.  Ebb and Flow, by Carolyn Swift of Traverse City MI, combines woodcut, relief, etching, acrylic paint, ink and colored pencil in a large, energetic abstraction that practically jumps off the wall.

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Ebb and Flow by Carolyn Swift

A show with this much material in it can’t be adequately described in print.  Art Now Printmaking requires your attention –and attendance.  As a nice bonus, if you have an interest in collecting relatively inexpensive works on paper, you really should take in this exhibit. Even works that are clearly one-offs are a bargain here. The exhibit is open until March 4. For more information go here

Art Now: Printmaking is on view until March 4.  Featured Artists are: Chad Andrews • Miguel Aragon • Robert Aronson • Tom Baker • Naomi Ballard • Jennifer Belair • Karen Benson • Shirley Bernstein • Laura Beyer • Benjamin Bigelow • Allison Blair • Ben Bohnsack • Jan Brown • Josh Christensen • John Cizmar • Abraham Cone • Schuyler DeMarinis • Tess Doyle • Andrea Eckert • Stacy Elko • Travis Erxleben • Craig Fisher • Frank James Fisher • Zach Fitchner • Cindi Ford • Arron Foster • Jenie Gao • Eric Goldberg • Helen Gotlib • Tim Gralewski • M. Alexander Gray • Brett Grunig • Tatsuki Hakoyama • Dominica Harrison • Tom Hollenback • Richard Hricko • Joyce Jewell • Rhonda Khalifeh • Tonia Klein • Joshua Kolbow • Alexis Kurtzman • Emily Legleitner • Geneviève L’ Heureux • Alexandria McAughey • Tyreese McDurmont • Dante Migone-Ojeda • Zachary Miller • John Miller • Eric Millikin • Ashley Nason • Nick Osetek • Carole Pawloski • Polly Perkins • Liv Perucca • Sylvia Pixley • Tatiana Potts • Linda Prentiss • Morgan Price • Laurie Pruitt • Christine Reising • Karen Riley • Benjamin Rinehart • Celeste Roe • Mary Rousseaux • R Ruth • Blake Sanders • H Schenck • Melissa Schulenberg • Terry Schupbach-gordon • Kayla Seedig • Sarah Serio • Ashley Shaul • Sarah Smelser • Barbara Smith • Jillian Sokso • LaNia Sproles • Emily Stokes • Lonora Swanson-Flores • Carolyn Swift • Olivia Timmons • Donald VanAuken • Roger Walkup • Annie Wassmann • Ian Welch • Art Werger • Linda Whitney • Maryanna Williams • DeWayne Williamson • Connie Wolfe • Mary Woodworth • Cameron York

Printers without Presses

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What’s a Print by Matthew Milia

In this dreary  and discontented winter season, Public Pool in Hamtramck aims to treat our tired eyes to Printers Without Presses, an exhibit of informal and mostly one-of-a kind printed artworks that “by hook or crook explore ingenious methods of printmaking.” This loosely organized collection of Public Pool regulars  (and their friends) showcases artists who are fully literate as conventional printmakers but who, for the purposes of this show, have discarded the more technical aspects of the printmaking process to create work that is  personal and playful.  Several of the artists are gifted  writers as well as visual artists, so text  and narrative content play an important role, resulting in  a roomful of fresh, unassuming and conversational artworks.

Chicago/Milwaukee artist and accomplished printmaker Tyanna Buie seems not limited but liberated by the simplicity of her means.  She employs hand applied ink, hand-cut stencils, collage and photo-based digital images to create Object and Ritual an ambitiously scaled, three-dimensional sculptural print that dominates the center of the gallery.

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We Didn’t Start The Fire by Dessislava Terzieva

The seamless connection that the artists display between their online worlds and the lo-tech, hands-on life in the studio is striking.   Matthew Milia describes  “What’s a Print”, his hand-stenciled rendition of a cell-phone text complete with reception bars and battery status,  as an attempt to playfully “subvert the instantaneous, sometimes mindless facility modern technology has afforded correspondence.” Dessislava Terzieva freely admits her piece “We didn’t Start The Fire” is the result of an internet search.

Three of the artists share an interest in the urban natural world of Hamtramck and have clearly influenced each other.  In  Baby’s Breath and Obsolescence, Keaton Fox compares and contrasts the marks created by inked baby’s breath with the trail of a computer mouse as it is dragged along the surface of the paper. Teresa Peterson and Anne Harrington Hughes have each put together a collection of leaves which they have subsequently used to create print series that are visually related but thematically distinct.

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Situations with Mushrooms by Teresa Petersen

Jeffrey Evergreen and Bayard Kurth III rely on text to convey their colloquial content. Evergreen’s small printed brown bags fit seamlessly into the world of Hamtramck’s bars and he has humorously directed gallery visitors to take one but only “wrapped around a beer.”   In addition to  prints in the exhibit, Kurth has produced a zine “Improve Your Fishing” which establishes that he is a writer and thinker as well as a doodle-ist. Though not formally included in the show,  another zine Stupor/Soft Gun, part of an ongoing series by  Knight Fellow Steve Hughes and with illustrations by Alexander Buzzalini  (who is in the show), merits attention and you can buy it for the low, low price of $2.   pp-buzzalini-aje

More purely visual, as opposed to text-based,  pieces are provided by Jide Aje and Tim Hailey.  Although they trend toward painting with a more distant nod to printmaking, they  still fit within the rather loose parameters of the show and provide some nice shots of color.

Alexander  Buzzalini contributes a Giacometti-esque branding iron that somehow also recalls his characteristic gloppy painting style. This is accompanied by several branded discs that might be coasters, and the whole thing ties in  with his ongoing interest in imagery of the mythic old West. For more about Alexander Buzzalini you can go here to read an essay written (not too co-incidentally) by Steve Hughes, his collaborator on Stupor/Soft Gun. 

Like many of the non-profit art spaces in Hamtramck, Public Pool has limited hours, but it’s well worth your time and effort to see this work, on view until February 25. Artists in Printers Without Presses are: Jeff Evergreen, Jide Aje, Bayard Kurth III, Teresa Petersen, Alex Buzzalini, Mathew Milia, Tyanna Buie, Keaton Fox, Anne Hughes, Tim Hailey and Dessislava Terzieva. The gallery is open on Saturdays from 1 to 6.  For more information on Public Pool, go here.