Common Concerns
This show offers a curious twist in that both painters, David
Ottinger and Barry Sullivan, started their journey many years ago as fellow students under instruction of Wilbur
Neiwald at the Kansas City Art Institute. "The overriding philosophy of that studio was the education of the eye through direct painting from observed visual reality." While there are distinct differences in the work of the two, there is also an underlying commonality which calls to mind the importance education plays in ones work. Add to this, that David has spent his career as an
instructor at
McKendree University. Some of the guests at the opening where associates from academia. Our system of art education, if not the backbone, is the foundation of artistic creation at the local level.
David's (on the left) work offers a natural approach to realism. Using passages of color, he creates a bold statement while staying true his subject matter. Sometimes working large, the effect is consuming. The subjects include still life. A trombone done in oil and another done in watercolor. The portraits include those of his wife, Mary Beth, and also his son. Painting loved ones has an added dimension of concern. David spoke of a painting of his wife that he was working on earlier in the day. Upon hearing her come home, he felt compelled to quickly wipe away the days work because it fell short.
Barry (right) works
primarily on portraits and covers a wide variety of subject matter. Men and women at work capturing a slice of time and of community. Images likely taken from photographs of people at work. Strong and rich, they treat common elements in an artistic
manner. He also uses family to model and goes outside the realm of realism to paint poetic
narratives. In these, he intentionally leaves the shadow of ambiguity that the viewer may provide their own
interpretation.
Common Concerns, curated by Tim
Liddy, is showing at
RAC from April 4 - May 11
th
"Echoes from Manzanar ... If Walls Could Talk"
Arthur Towata has spent fifty years mastering skills in pottery, painting, printmaking and sculpture. His current show at the
Jacoby Arts Center in Alton, Illinois, is based on a life changing event of his youth. An American born of
Japanese dissent during the unsettling time of Pearl Harbor, circumstances incarcerated him at the
Manzanar War Relocation Center at the young age of 8. He spent the next three and a half years in confinement with his mother and 2-year-old brother. His father, by United States edict, was detained separately and Arthur never saw him again. The work is comprised of large acrylic paintings and pottery. During the opening of the show last week, Arthur spoke of the paintings and symbols incorporated which told the story of this time in his youth. Though a sad time, his tales still reflected the joy of his youth, putting melancholy to this work. For example, the painting in the image above, recalls his first view of the Milky Way, something blocked from him in LA. Another painting represents the clever tricks and creative avenues a child employs for amusement when left with limited resources.
Some of the credit for this show goes to Arthur's fellow artist and companion, Kate Morgan, who encouraged him to return to Manzanar in 2006. "While visiting Manzanar, Kate placed one of Arthur's lidded pots on the ground. Immediately, the creation blended with the natural landscape. Finally, clarity."
Arthur did not speak about his pottery other than to decline my probing. "What can you say about them?" was his reply. This was disappointing as they are fascinating work unlike any I have had the recent pleasure to experience. I would like to understand them better. Apparently, I am not the only one unable to connect with him on this. "When asked about the evolution of his ceramics -- the color, form, texture---he couldn't quite pinpoint the inspiration."
The Jacoby Arts Center is one of the newest art complexes on our east side.
In the late hours of winter, when snowfall has silenced the night, one senses the stillness of a different reality. Who among us believe they see as things truly are. For an enchanting moment one suspends traditional beliefs and entertains thoughts of another world.
Saint Louis artist, Ken Worley, spends a bit of time in this nether world. If you let him, he will take you there. He goes there, not in the silence of winter, but through the solitude of nature.
Recently, through coincidence of circumstances, I had the good fortune of being introduced to Ken. He is part of a small group of artists that regularly visit exhibitions, followed by lunch. My friend, potter Tim Eberhardt, is also part of this group. He invited me along. We went to the Rembrandt exhibit at the Saint Louis Art Museum. (Don't miss it) Ken is sort of easy going, much like his work. William Griffin introduces Ken and his work to the cyberworld through a
short online video.
I have admired Ken's work for some time now, first at the Bruno David Gallery and later at the Gallery of Contemporary Art at Forest Park. The work is often described as landscapes of the Rockwood Reservation. His work is up again at the Bruno David Gallery so I took the opportunity to return and observe it more closely. To round out my understanding, Mr. David was kind enough to provide me with a number of articles written about Ken. Though these, I find Mr. Worley has been working the Rockwoods pine motif for at lease 20 years now. This refinement undoubtedly plays to the polished element of his work. There is a sense of the real surreal world. Not that fantasy, dripping watch one, but the other one, the one that exists in the quiet of a empty stage.
To accomplish this, Ken uses strong graphical elements. Pine trees, simplified into pointed ovals, sit on sweeping hills. Depth is introduced with stark shadows. Distortion occurs as the shadows are not uniform. This is all made agreeable through a subtle yet powerful use of muted color. His medium is oil stick which allows the creation of a painting which looks like oil but is actually very different. This comes to light when observing the incredibly sharp detail. They are etched in with a pen knife, rather that a brush. Ken Worley's paintings are immediately identifiable. His style is well defined. It is interesting to find while he continually revisits the subject matter, each piece of work is uniquely different.
Opening ceremonies for the new Sam Fox School of Design and Visual Arts were not even mentioned in the local paper. While the opening ceremonies may not be newsworthy, the creation of this new complex is likely the most important advancement in art here since the creation of the Saint Louis Art Museum, over a hundred years ago. Part of Washington University, the new Sam Fox School of Design & Visual Arts, merges the school of art and the school of architecture, creating one of the finest art and design programs in the country. The school also includes a new building for the Mildred Lane Kemper Art Museum, one of the oldest teaching museums in the country. In addition, the new Earl E. and Myrtle E. Walker Hall was created to house sculpture and painting studios. Exciting.
As part of the ceremony, the public was invited to an open house in which we could browse though the schools five buildings.
School is in session and student artwork was everywhere. Remember your grade school open house? Most of the student work was, as you would imagine, raw. However, looking closer, one could find a piece stacked against the wall or tucked in the corner which would show true potential. Baby artists, coming from all over the country, even the world, to Saint Louis to grow. On occasion, these students will settle here, blessing our area with a lifetime of their work. For Saint Louis, this is the most important aspect of our new school.
For those looking for a little more immediate impact: A NEW MUSEUM!!! And let me tell you, it is gorgeous. The Mildred Land Kemper Art Museum is everything you could hope for, large areas for rotating exhibits, and a separate gallery to display their substantial permanent collection. - Pollock, Klee, Hartly, Miro, Picasso. The special exhibitions includes six prints, (lithographs and woodcuts) by Wassily Kandinski, "Kleine Welten Series" 1922. The museum is open to the public but, as it is a university campus, parking can be tricky.
STLCC
The Saint Louis Community College System provides a primary source of nourishment for development of visual art locally. During summer, the Florrisant Valley branch offers a number of week long photography workshops covering such topics as large format, pinhole, and alternative photography. These workshops are designed to promote artistic interpretation in the photographic medium. I took the class in non-silver processes, Cyanotype and Van Dyke, taught by Christa Denny. A darkroom is available, and it was wonderful to have one available. However, these processes do not require one so I have been able to continue to work long after the workshop was over. I am now doing gum prints, a process which uses watercolor pigments as the toning agent. In addition, I am looking at ways to apply this technique to the ceramics class which I am now taking at the Forest Park branch. This class is held in the new Art Annex which also houses the print studio. Completely remodeled and opened this fall.
Of course, there is nothing unique about a college offering art instruction. What makes this system so important is the cost. Any artist in the area can get instruction and access to a studio with out reguard to how limited they may be financially. In addition, the instructors are artists. The system is providing support to working artists and the students are gaining by learning from those working in the field. Oh, and one more thing. Each branch has a gallery which is actively used. As a educational institution they are mindful to offer exhibits which are enlightening and informative of current movements in the art world.
The St. Louis Artists’ Guild is exploring new formats for its exhibition schedule. In the past, most shows have been juried and ran six weeks. They are now running eight weeks with at least this show being curiated. The "Emerging Local Artists" show was curiated by David Weaver of Art Dimensions. This group has been around for a number of years (5?) now, giving David the opportunity to meet a good selection of talent. Eight of our most dedicated local artists were chosen for this show. While each artist shows just two or three pieces, it is some of their finer work. The work shown above is by
Justin Tolentino. Often working on found objects, this is on a sheet of rubber. As Justin continues with his stylistly edgy, street wise approach, he has added a new dimension in rich but subdued image laden background.Notably different, this work does not have the cartoon characturitures as in the past. I rather prefer this.
I have had the pleasure of working with
Lyndsey Scott when we were both volunteers in an art based program to help "at risk" youth. Her work is some of the most interesting in the show. It uses a large variety of media as well as a number of different objects. The distressed framing is an intricate part of the work. Many fine details and symbolism to boot.
William Lobdell does found object relief sculpture, building 3-d models using objects one might see in the junk drawer of a workshop. The work is then masterfully painted with acrylic, making the work a cross between a highly textured painting and a beautifully painted sculpture. He generously offered to teach a workshop at the Guild which I am excited about attending.
Art Dimensions is like a band of nomadic artists, displaying their work at various venus as opportunity arises. From under used storefronts to the "Taste of Saint Louis Fair" they are willing to do whatever it takes to get the work out before the public.
The complete list of artists in this show:
Alicia LaChanceAunia KahnCbabi BayocJulie MaloneJustin Tolentino Lyndsey ScottPeat WollaegerWilliam Lobdell Their inspiration, histories, and styles are wildly diverse and challenge us to take a fresh look at the creativity offered by our local emerging artists.
David's (on the left) work offers a natural approach to realism. Using passages of color, he creates a bold statement while staying true his subject matter. Sometimes working large, the effect is consuming. The subjects include still life. A trombone done in oil and another done in watercolor. The portraits include those of his wife, Mary Beth, and also his son. Painting loved ones has an added dimension of concern. David spoke of a painting of his wife that he was working on earlier in the day. Upon hearing her come home, he felt compelled to quickly wipe away the days work because it fell short.
Barry (right) works primarily on portraits and covers a wide variety of subject matter. Men and women at work capturing a slice of time and of community. Images likely taken from photographs of people at work. Strong and rich, they treat common elements in an artistic manner. He also uses family to model and goes outside the realm of realism to paint poetic narratives. In these, he intentionally leaves the shadow of ambiguity that the viewer may provide their own interpretation.
