Art
view Paulette Thenhaus
Harlow
Blum: 40 + 10
This retrospective of 112 artworks by Harlow Blum reflects his
intense investigations and distant travels in the Orient. It also marks his
long career as professor of art at Monmouth College where his exhibit is up and
running till January 30th, 2009.
The title of the show "40 + 10" refers to Blum's
forty years of teaching plus ten years as Professor of Art Emeritus.
Printmaking was his teaching specialty. Early work from the 1960's document his
own woodcuts, lino-cuts and tonal etchings.
A formative sabbatical took him to Tokyo and Kyoto in Japan
from 1967-68. The textures, colors and structures he experienced there became
part of his art vocabulary for the rest of his art career. Over the years he
has made additional trips to India, Indonesia and beyond.
Probably half of the work on display reflects Asian design
principles and philosophy. "Tea House Window Series #15, 2000” is a large
assemblage (collage) utilizing driftwood over Indian paper with bamboo and twig
over Korean Odol paper. The twigs fill the center of the circle that form the
teahouse window.
Blum draws from Japanese art, life and culture. There are a Zen
landscape garden (Ryoan-ji Series) – Blum created a life-size rock garden in
Hawaii in 1979. Also, the tea ceremony (Tea House Series), the Noh Drama (Noh
Series), the Tale of Genji (Genji Series) and the Tsukiji Fish Market of Tokyo
(Fish Market Series).
Blum's sensitivity to textures is his great gift.
"Ryoan-jo Variation," 13" x 11", 1993, is composed of
rusted metal, cork, burlap, plant materials, sand and bird gravel. How tactile
can an artist get in such a small space? His simple linear pattern enhances the
2-D surface treatment.
Ghost images of rust and actual inserted pieces of rust are
trademarks of the artist that go back to his college days. "Impact
Zone," 1999, looks like a rusting moon crater. The medium label reads,
"Lightning zapped earth particles with mixed media." There's got to
be a story to this one.
Exotic handmade papers are also a trademark of Blum's body of
work. Often he allows the color, weight or texture of the paper to guide his
design. In "Taizo-in-Rock Garden" the rippled watercolor paper mimics
raked pebbles with no further effort.
It is safe to say that up until very recently, Blum has been
working rather flat. Organic, often found materials, are manipulated into
symbolic shapes of square, circle, rectangle. But with the coming of a new
decade in a new century Blum has discovered a new medium and a new message. The
medium is no longer organic but rather free-form industrial... expandable foam.
Like his other found textures, it too was discovered and
retrieved but this time from discarded theater props. We are not talking about
salvaging small pieces either, but rather a full truck load. The gallery
installation of ''Three Piece Iceberg Installation" measures 8' x 10' x 3'
. The massive icebergs are bulging iridescent forms. Though the message is one
of global warming and melting seas, the slick, white "ice" has a
tactile smooth beauty to it.
There's much to view up-close in this fifty year retrospective
by the Professor of Art Emeritus. It looks like he's beginning yet another
chapter in his long creative life. Take the time to digest the 112 artworks
created by this singular artist/ teacher who is still discovering the feel of
things.
The exhibit at the Len G.
Everett Gallery, 2nd floor of Hewes Library at Monmouth College, runs through
January 30, 2009. A reception and gallery talk will take place Friday, January
16, 2009 from 2 - 4 pm.