Art view
By Paulette Thenhaus
From primitive to slick
Presentation is about 10%
–15% (some would say more) of the art game. If an artist does it right,
then the total impact of the artwork resonates clearly with the intended
message. If handled poorly the artworkÕs impact may be diminished or ignored.
IÕm not talking ornate gilded frames or marble pedestals here. For work to look
contemporary, massive gold frames are not the solution. Better understated than
showyÉ let the artwork speak for itself.
ItÕs not only frames that
presentation is concerned with, thereÕs spacing, viewing distance and of
course, the quality and quantity of that shown. Filling the wall with all it
can bear doesnÕt guarantee more sales. It can confuse and tire a viewer who
might otherwise spot a single work to make her own.
Then there are the labels.
One should be able to read them at a reasonable distance but they should never
overpower the art itself. Just as bad are labels without vital information.
Unless thereÕs bold signage with the artistÕs name (which I suggest for every
show) then
the artistÕs name belongs on every label along with the basic information
pertinent to the individual artwork.
I introduce this
information because of strong examples of how presentation affects the current
exhibits in downtown Galesburg. Some presentations make the exhibit a stronger
view while others weaken the total effect and bring the value of the art into
question.
QÕs CafŽ
319 E, Main St.,
Galesburg
Jane Elizabeth Hames
If one can get past the
haphazard presentation of unevenly hung canvases with oversized labels floating
around, the childlike (not childish) impressions in acrylic paint are
refreshing and reflect a true free spirit. ThereÕs an abandon of most formal
rules of picture-making. As in primitive art, the image flows intuitively from
the painter to the canvas. Usually the picture plane is completely filled with
images and color. In ÒHarrowing HorrorÓ the birdlike shapes resemble ancient
petroglyphs.
Though the work looks
untrained and a bit clumsy, the bold linear patterns and unpredictable colors
are undeniably striking. I think of Abstract Expressionist master Phillip
Guston saying in a film he couldnÕt wait to ÒplopÓ a big pink shape somewhere
on the canvas so it would become a hand or a foot or something ... ItÕs all
about the pure love of just painting with no preconceptions about what will appear from
the act of lifting a brush loaded with pure color to canvas.
ItÕs through HameÕs clever,
inventive titles, often referring to the Middle Ages, that she reveals her
maturity and playful intent. If only the presentation were a bit more organized
and Òedited,Ó the artwork could be taken a little more seriously and be less
likely considered an artistÕs castoffs.
KaldiÕs Coffeehouse
124 E. Simmons St.
Galesburg
Jim ÔFletchÕ Fanjoy (
Broad Horizons)
By contrast, the long
panoramic and emphatically horizontal views of bucolic landscapes in Spain and tourist
sites in Galesburg, in the exhibit at KaldiÕs, show total control in
image-making and presentation. Photographs taken during a perfect moment in
perfect light and with a color resolution which is, well, beautiful.
Galesburgers should appreciate the crisp image of Seminary Street (the entire
length of one block) and the close-up print of ÒWaiting WingsÓ: Stearman biplanes
lined up as if for parade inspection. The romantic views of Spain also have an
allure. But it is the inventive method of framing the prints in their long
narrow format that give the images a special Òsignature.Ó Black plexiglas
ingeniously and handsomely frames the images, some of which are 40Ó long and
11Ó narrow. The ÒframesÓ are part of the picture and have no solid edge.
All this said, the prints
are so graphically sharp and, well, slick, that they seem more akin to
commercial art than fine art. One can easily imagine any of the work on an
upscale advertising brochure. Regardless of classification, the strong
compositions and sophisticated style should find an enthusiastic audience here.
Galesburg Civic Art Center
114 E. Main St.,
Galesburg
Michael Ryan
Michael Ryan uses the words
Òpleasant experienceÓ in his artistÕs statement. The phrase fits both his
display and that of co-exhibitor Marnie Eskridge. Both are competent in the
mastery of their mediums, yet the exhibits offer no explorations into new
territory.
Ryan has selected seven
paintings representative of a larger series to exhibit. He concentrates on
landscapes along the upper Mississippi River Valley. The brushwork is open and
active in the medium size canvases without losing a representational quality.
He often repeats the same color palette of muted ochres, umbers and violet,
giving an autumnal/early winter feel to the canvases. ÒCopseÓ introduces the
warmest colors of red and yellow in a sun-dappled space. ÒNorthside,Ó a 36Ó x
36Ó (approx.) acrylic, is characteristic of the grouping. The color is subtle
and translucent from layers of glazing. A network of barren branches moves
across the foreground, while a small network of trees interweave in the
distance. Shapes and colors are mimicked in the sky. There is a sense of a
place where one has returned over time. The paintings are enhanced by the black
frames that ÒfloatÓ the canvases.
Marnie Eskridge
Eskridge leaves nothing to
the imagination. Her brand of realism is purely what the eye thinks it sees
with lots of detail. Her subject matter is decidedly rural: mushrooms in the spring,
duck on pond, shucked corn. Though she calls her work a Òvisual diary,Ó it is
more of a scientific journal noting every vein and feather. In the meticulous
illustration of things, the artist voice is never heard. We are left only with
the surface of nature, not its inner workings. ÒDadÕs Favorite Things,Ó a still
life with lunch box, flannel shirt hanging, John Wayne paperback and other
artifacts, highlights EskridgeÕs proficiency in pencil drawing (though labeled
charcoal). It is as close as we get to a personalized comment that invites us
to imagine the authentic life of someone else. The artworks look professionally
framed, and though each is framed to suit the particular image, they are, for
the most part, understated and create a harmonious grouping.
The exhibits are up
through February, 2007 and a few even longer. Artview is on-line at
www.thezephyr.com.