I recently wrote a review for AADL Pulp of Works in Progress, a group show at Ann Arbor Art Center. Consisting of work by 24 (mostly) Detroit/Ann Arbor-based designers at varying stages in their careers, the exhibit illustrates the creative process of gifted thinkers and planners who bring functional works to life through fashion, graphic design, furniture, architecture, and industrial design. To read more about them, go here.
I recently wrote a review of In Transit for Pulp. Over 70 photographs by current and former students in the Photo Technology Department of Washtenaw County Community College are on display in Gallery 117 at the Ann Arbor Art Center through September 30. To read the full review go here
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.)
When someone says “art glass” do you think immediately of the colorful, often whimsical and crowd-pleasing objects that are staples of art fairs and craft festivals? Well, think again.
HUSH.ex, a group show of four artists from Philadelphia’s Tyler School of Art, on view until November 4 at River House Gallery in Toledo, will re-order your preconceptions of what glass as art can be and do.
Working within a narrow range of colors and a broad array of glass types, Megan Biddle, Amber Cowan, Jessica Jane Julius and Sharyn O’Mara have filled the gallery with a collection of visually and conceptually challenging work that refuses the flashy over-stimulation of the digital age. The easy appeal, saturated colors and fluid shapes of conventional art glass have been replaced by a more austere vision that is expressive of solitude and silence. The artworks are predominately black, white and shades in between; the types of glass include production milk glass, airport grade glass reflector beads, found and second-life glass and more. The artists heat, crack, fuse, burn and pour their way to artworks that push the medium of art glass well beyond its previous aesthetic borders.
Jessica Jane Julius’s Static Puddles are made by pouring black matte glass over shards of canework. The story of their production is evident in the jagged centers of black and white surrounded by the gloppy shape of each piece, but that is secondary to the lyrical appeal of these weightless black blooms. In another instance of prosaic material transcended by the poetic, Julius has applied airport grade glass reflector beads suspended in paint on four panels to create a wavy, translucent river that flows across the wall of the gallery. The title of the piece is Absorption.
Recycled, up-cycled and second-life glass provides the raw material for the works of Amber Cowan. Her installation of commonly recognizable milk glass objects, heated and deformed, transforms these everyday vessels into ghostly memorials to their humble use. In Tall Vase with Thorny Vines, Cowan has heated a production vase, pierced it and collaged ceramic plants into it, shaping it into a matte white still life that is both familiar and surreal.
The work of Megan Biddle focuses on process-driven work that emphasizes the unique qualities of materials and their response to outside forces such as time, growth, erosion, breakage. (In addition to her glass work, she produces installation, sculpture, drawing and video.) Her Further for Now series examines the way that layers of cracked glass can create a kind of line drawing on a hazy, semi-transparent field.
Dog hair, optical fiber and typewriter tape are the eccentric components that characterize the work of Sharyn O’Mara. Particularly prominent in this exhibit are her carbon burn-out “drawings” on glass. These hair-on-glass process pieces are abstract, yet often seem to reference seed pods or plants. They have an ethereal quality, as if they might disappear into thin air, blown away by fugitive winds.
The glass art that is featured in HUSH.ex is neither easy nor pretty nor decorative, but satisfies on a deeper level. These four artists demonstrate that there are many unexplored avenues for discovery in this medium that is so central to the regional aesthetic. They point the way to a creative trajectory in art glass that is cerebral, experimental and conceptually rigorous.
HUSH.ex is the second in a series of museum-quality exhibits organized by Contemporary Art Toledo, a collaborative partnership of gallerist Paula Baldoni of River House Gallery with Brian Carpenter, Gallery Director at the University of Toledo. (Their first exhibit was Beautiful Pig). The goal of CA+ is to provide a showcase in the Toledo area for provocative and groundbreaking contemporary artwork by nationally known and regional artists.
For more information about HUSH.ex and River House Gallery hours go here
In a week when human folly and violence are on full display, it can be a relief to view our world through the wrong end of a telescope, reminding ourselves that we inhabit only a small and relatively unimportant corner of the cosmos. Artist Eric Zeigler has made this possible and palatable in underlying, a handsomely curated collection of archival pigment prints from sources as diverse as the Hubble Space Telescope and Fermilab’s particle accelerator. The show, which is on view from now through July 30 at River House Gallery in Toledo, Ohio, is an exploration of images made possible by our ever increasing technological means of perception.
In underlying, Zeigler casts his photographer’s curious gaze over the universe, examining everything from a minute and rare instance of subatomic neutrino interaction to a star’s birth and death. Since the artist must rely (mostly) on images gathered from public sources, the essence of his unique work lies in his editing choices, framing, print color and scale. He has captured a few images directly, such as his Meteorite, a slice of which he has photographed. But I’m aware even as I write this that I am making a false distinction, because like all photographers, Zeigler’s considerable talent is in his eye and mind, translated through the technological devices that capture visual information, no matter how rudimentary or advanced.
Zeigler describes his wonder at seeing for the first time in 2015 a clear image of Pluto, previously visible only as a “several pixel-wide blur”. He marvels too, at how our perception of time is altered by the knowledge that many of the images coming through our telescopes are of objects many light years away which, in fact, no longer exist. And in Milky Seas, he shows that even in our own natural world there are mysteries yet to be solved.
Since its widespread introduction in 1839, photography has put documentation of the visible world within reach of just about everyone. Now with technological advances, human perception has gone beyond what we can see and record with the naked eye. And it can be argued that these most recent advances in our ability to quantify the universe are simply a development and elaboration of inventions–the telescope and compound microscope– by Dutch scientists in late 16th and early 17th centuries, during a period in history when observation of the natural world held particular fascination. The creation of lavish botanical encyclopædias recording discoveries in the Western Hemisphere and in Asia, the beginning of scientific illustration and the classification of specimens and even the invention of still life genre painting were all features of this seminal period of humanist thought. Eric Zeigler’s work can be understood as another step on a road already well paved with discovery and invention.
The theme of underlying is, ultimately, that mystery still surrounds us, both near and far. The natural world and the universe beyond it is full of marvels yet to be discovered. And we can take some comfort in the knowledge that the thrill of discovery so intrinsic to human nature is still available to us.