EVOKE at Imago Gallery and Cultural Center

I’ve had the great pleasure to curate a little exhibition currently on view at Imago Gallery and Cultural Center, a space that I’ve been consulting for and have really enjoyed working with over the last year and a half or so. On Tuesday, September 1st, the gallery will host a reception for the show.

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I hope you can join us for this event. The works I’ve selected were created by a few young artists that really highlight the diversity of perspective that is present in our community. All three of these individuals were or are students at the University of Missouri where I have taught since 2007.

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Detail of a work by Sumire Taniai.

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Detail of a painting by Kelsey Westhoff.

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Detail of a drawing by Simon Tatum.

I chose these artists not only for the ways their work stirs up interesting moods and thoughts, but also because they represent the different places, directions, and sources that artists use. Taniai is Japanese-American, a strong woman who uses her paintings and drawing to delve into the complex relationships between fathers and daughters. Tatum uses his Cayman Island heritage to explore how colonialism and sublimated history may be brought to the surface in singular, distinctive ways. Westhoff’s paintings deploy the aesthetics of apps and filters familiar to anyone who uses a smartphone, and in them she treads the line between affectation and sincerity. All in all these young artists show the vigor of painting and drawing in the 21st century, providing viewers with avenues that illuminate history, identity, relationships, and meaning.

 

The (R)Evolution of Sweet

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I’m really privileged to be a part of this celebration of Eric Sweet’s life and work, currently on display at the University of Missouri’s George Caleb Bingham Gallery. I helped Eric’s wife, Catherine Armbrust, with a few aspects of the exhibition, including a catalog and a video of the Ideal Conditions works.

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I hope you can stop in and see this show. The Closing Reception is September 17th, 2015 from 4:00pm until 7:00pm.

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Informational blurb about the show:

“The (R)evolution of Sweet” celebrates the creative vision of artist Eric Sweet, who passed away on April 6, 2015. The work in this show spans the years 2010-2015.

Partial proceeds from the sale of his work will go to benefit the MU Art Department’s “Eric Sweet Memorial Scholarship Fund”.

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Eric was a beloved member of the MU Art faculty, having worked at MU since 2012 as an Adjunct Assistant Professor, teaching Printmaking, Drawing and 2-D Design courses. Eric was an alumnus of the Art Department; he earned both his BFA (1997) and MFA (2011) from the University of Missouri. In 2008, he received an MA in Printmaking from the University of Missouri-Kansas City. Eric was an active member of the Southern Graphics Council International and the College Art Association.

This show is curated by Eric’s wife, Catherine Armbrust–also an MU faculty member–with the help of many loving hands from the Columbia community, and the assistance of the George Caleb Bingham Gallery. Thank you for helping us honor Eric in this way.

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Another Day, Another Dangle – Neil Gavett

Neil Gavett is a well-known model for artists in central Missouri, and has worked with basically all of the art departments in the area (click here for an earlier piece about him). In September 2015 he’ll have been working primarily as an art model for 20 years. That’s major commitment to the craft, something Neil describes as “another day, another dangle.” Over the years, I’ve had the opportunity to work with Neil in many classes and have enjoyed his hospitality. Neil loves to facilitate shared experiences. In April of 2014 I got to visit him and share a lengthy conversation over an amazing meal (steak and shiitake mushrooms in a bourbon-based sauce) and several choice beverages (rum!). It was quintessential Neil, and I hope you can get a small sense of the depth and intensity of what it means to spend a couple hours with the man through the snippets of dialogue from that day that I share below.

neil2014image1Portrait of Neil Gavett: Another Day, Another Dangle. Gouache on paper, 14×11 inches, 2014.

On Cooking With Mushrooms

“Shiitakes are pretty hard to mess up.”

On Spiritual Plugs

“I remember the first time I heard that phrase about ‘many forms of electricity’: you know, something along the lines of, ‘it doesn’t matter which plug in the house you use, you’re jacking into the same thing.’ That was back when I first read Phillip K Dick and had been taking a lot of theology classes. At the time a friend of mine was reading Illusions by Richard Bach. My friend was so excited about it he drove four hours home from college and gave the book to me, saying I had to read it. It’s a book talking about the power of visualization – that the crisper the visualization is in the mind, the more you develop the ability of the mind to visualize, the more easily you’ll begin to manifest your reality. So the ability to be able to stop and count things, or to be able to discern differences in color… those are all in the higher function of the brain. The more you work with that level of awareness, the better your ability to move beyond fight or flight level engagement. So while taking those theology classes at St Bonaventure and thinking about visualization, I got fascinated with the relationships between the theology I was studying and the ritual theater of indigenous religions. It was the idea of symbolic movements and gestures that all have purpose. You can take that right into Roman Catholic ceremony or a Southern Baptist service with the theater of preaching, which both serve to raise the energy in the room. There’s also the laying on of hands or the mechanics of public prayer that focus the energy. The pastor or priest is tying the congregation together to produce the desired effect. The gestures, the facial expressions – they translate across spiritual systems and cultures. Also, there’s the use of specific types of structures. Think about the use of a cosmic axis pillar – the Axis Mundi – whether it’s the plume of smoke in a Native American ritual or a Christian cross or the World Tree for other faiths. There are certain common threads.”

On The Bare Minimum of Ritual

“When I would have friends who want me to perform the ceremony for their wedding (Neil has studied a number of Neopagan rituals and has performed the Handfasting ceremony many times – MB) the basic thing I do is simply give them a framework for what has to be there. I give them the bare minimum of what is needed in order for a ceremony to work. In all of these ritual traditions there are a certain number of things that have to be acknowledged and if you don’t want to do those things you’re not looking for a religious ceremony. You’re not looking for someone who’s at all spiritual you’re looking for a Justice of the Peace.”

On Jung

“Jung gave us a vocabulary to share with others what was happening in the mind. So many terms and concepts that we use to this day came out of his work. The idea of collective unconscious, in particular, was important to me. And that there are many ways for us to get our minds tuned toward that arena… those small moments where you feel yourself in sync with something greater than yourself. In reading Jung I first grasped the notion that the thing that separated us from the rest of the animal world was the evolution of a sort of meta-consciousness where we realize what our survival costs others.”

On Bartending

“I miss it. Definitely the most entertaining job I’ve ever had. Tending bar is like throwing a party every night only everybody is paying for their own drinks. And part of the job is being everyone’s friend – ‘the doctor is in’ kind of thing.”

On What he Has Learned Modeling

“Just wrapping my brain around the fact that artists see the world differently. I’ve had to exercise my brain to grasp that – to begin to see the green in a sunset or to see a tree in front of me as THE tree. Yes, that’s the main thing: that artists really do see differently. Through realizing that I started to understand that I was seeing less than I could be. So I wanted to try to learn that mindfulness I saw in the artists around me, their ability to see everything for the first time.”

Inspiration – Eric Sweet

Photo Apr 16, 3 09 28 PMEric blurred in front of the work of a fellow grad, Charlie Thompson.

Eric Sweet – a friend, colleague, and former student (in a few graduate classes) – died Monday, April 6th. It was sudden and strange in ways I can’t really describe. Yet his passing drew out much love and care from the people in his sphere of influence; so much of what remains is truly the definition of bitter-sweet.

Others have spoken much more eloquently than I can about all of this. But I wanted to take a moment here to memorialize Eric as so many of his friends and family have over the recent days. In the hours after he passed I made a few statements, but for the most part have been filled with silence. So here are a few more thoughts.

Photo Apr 16, 3 18 36 PMEric’s visage, pasted above the urinals in the Art Building bathroom…

I keep thinking of his graduate thesis title: Come to Nothing. The fact is that his life was the diametric opposite of that sentiment. He really did make something. He made real impressions (printmaking pun there). Real truths. Real observations. Real impacts. He was the opposite of a taker. He was not an emotional leech. While creating the work for Come to Nothing, Eric gave constantly of himself to encourage other grads and shape the graduate program. He could be forceful in advocating for excellence and understanding, but he did it out of a sense that we all really could be better. He knew that we could all be more thoughtful, more aware. And he helped us do that.

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Ideal City (Piazza Della Civilita Italiana), Hand pressed low relief blind embossment, 27” x  32”

Eric and his wife Catherine were the first graduate students I interacted with who really felt like colleagues and authorities from the very first time I met them. I often left meetings with them feeling that they were the ones doing the instruction, not me. This was – and is – a very good thing to experience. I have always felt edified by my time with them, and have loved the way Eric cast such a huge positive shadow over the graduate program at Mizzou. Grace and insightful clarity permeated their discussions. You knew you were getting straight talk from Eric.

Photo Apr 16, 3 18 27 PMA typical note from Eric to his students.

That straight talk continued after his death. In going over graduate review notes (faculty who attend a graduate’s review give feedback and vote on the student’s potential to continue on in the program), we noticed some from Eric. He’d been invited to attend review as one of our current Adjunct Professors, and he had taken the time to interact with the ideas of our current grads. Sharp and precise, Eric pulled no punches. He was a teacher right up to the end.

1935079_966535378259_7573425_nHanging out at Klik’s.

On the day of his Memorial Potluck, I was able to place a tribute to Eric on a large drawing at a local restaurant. If you’d like to see a time lapse of the drawing as I made it, watch below (or click here):

Time Lapse of Chalk Pastel Drawing at Gunter Hans, April 11, 2015

from matthewballou on Vimeo.

1907519_10105539051084089_281031879456274633_nEric at the first Thomas Kinkade’s Christmas Cottage movie viewing.

One of the most lasting things Eric gave us was his love for Catherine, which is one of the best love stories I’ve gotten to see up close. Their marriage was a testament to a couple being able to get over themselves in order to become more like their true selves. Their marriage made them more human and more transcendent. What a tremendous gift they pictured together.

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I’m grateful to have known you, Eric. RIP.

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The Teacher (Ms Sharyn Hyatt-Wade)

Photo Mar 18, 8 11 39 AMThe Teacher (Ms Sharyn Hyatt-Wade), Pastel on Black Paper, 30 by 22 inches, 2014.

Sharyn Hyatt-Wade is synonymous with engaged, passionate teaching here in Mid Missouri. If you ask any of her former students, you’ll hear no end of what this woman has brought to her classrooms over the years. Though she recently retired from teaching high school art after many years, she’s currently a part of the faculty at the University of Missouri. Now she’s working with our Art Ed graduate students to help shape them into the sorts of educators who make real impacts on kids’ lives. Too often public education is about the bottom line: teaching to the test to obtain granular data for the administrative types who allocate funds. Teachers like Sharyn live far beyond that simple concept; they aim to change lives, validate individual experiences, and advocate for student-based successes.

Sharyn’s power and exuberance are kinetic and contagious. She has an uncanny ability to get other people around her on board with her almost instantaneously. She’s a true leader and lover of people. I’m so thankful she’s in our community and is still giving of herself to bring better educational opportunities to everyone. What an amazing career she’s had. What a huge impact. Thanks, Sharyn.

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If you’re a former student of Sharyn – at any level, in any capacity – I’d love to hear your thoughts. Share them in the comments below if you want to!

Inspiration: William A Berry

Last year the Boone County Historical Society held a retrospective exhibition for William A Berry, long time Professor of Art at the University of Missouri. I was struck by Professor Berry’s work from the moment I first saw it in person at Mizzou. Over the years I learned about the breadth and depth of his work and have returned to it again and again. The BCHS show, titled William A Berry: The Eye Behind The Eye, was a wonderful chance to see a wide variety of his work from the whole sweep of his career.

Photo Feb 22, 4 02 51 PMTwo large colored pencil works by William A Berry

One of the things I found most interesting about this exhibition was the inclusion of many of his preparatory sketches and hand-built geometric forms. There were a number of collections of these constructions, such as the groups below:

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I found these compelling not only as the source materials from which he created many hundreds of works, but also as formally pleasing objects in themselves. So much of an artist’s work is based on the commitments he or she makes with the eye; commitments to specific shapes, colors, relationships, etc. The evidence of Berry’s lifelong love of these forms, and how they influenced his work, was clearly shown.

I also loved the various sketchbooks and individual sketchbook pages that were on display in the exhibition. Never meant to be presented as art, these works nevertheless represent the investigations and passions of the artist. The fine-tuning, the alterations, the second attempts; these are elements to which fellow artists can warmly relate.

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Above and below: samples of Berry’s sketchbook pages.

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The life of William A Berry was one of learning and seeing. His work as an educator was effective and inspiring. His work as an artist was clearly a product of his time and global interests. This retrospective exhibition really allowed viewers to get up close and see that life in art.

There is an excellent catalog for this exhibition, but a quick search doesn’t reveal if it is available online. The book is called William A Berry: The Eye Behind the Eye, and it’s by John Whelan (Valerie Wedel also contributed writing). Look for it if you can.

Norleen On The Cusp

IMG_0268-1Norleen (On the Cusp). Graphite on paper, 16 by 16 inches. 2014.

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Norleen Nosri is an incredible person: Daughter, Artist, Mom, Malaysian, Muslim, Wife, Teacher, Lover of the World, Speaker of Truths, Embracer of Difference, Celebrant of Joy, Preparer of Meals, Peacemaker, Calmer of Hearts, Tea Drinker, and so much more. While each graduate student I have worked with has unique aspects which make them special and necessary to my experience as an educator, Norleen shares a special spot with Natalie Shelly; being with them is like spending time with God. Norleen’s gentleness, care for people, and passion for work are just humbling to witness.

In my portrait of her I got something we almost never see: a completely still and silent Norleen. Usually she’s a flurry of activity, all smiles and happy exclamations. Here I saw her in a moment of pensive awareness. She’s not unhappy, just leaning into life with resolve; she’s receiving some of that grace she so easily gives to others. That open face and intense look in her eyes speak volumes.

When I drew her she was on the cusp of a huge life change – moving into a new space and new opportunities in St Louis, MO. And now she’s about to undertake her greatest challenge yet: a tea ceremony installation work serving thousands of people (read more about her current work as Artist-in-Residence at the Craft Alliance in STL here). I’ve written a bit about Norleen before, so I’ll let her have the last word. Below are just a few of her thoughts from the conversation we had last year.

On graduate programs:

“I gotta do this. That’s the only mentality. My mind at first was like, what is the MFA? But I never took it lightly. It’s supposed to be intense. It’s gotta be intense. It’s going to squeeze all the crappy parts out and just leave the pure… so it’s going to be painful. I knew from many of my ceramics friends – with Bede (Clarke, head of Ceramics at Mizzou), just be prepared to cry a lot. But the best of what happens is reciprocal, between you and (your faculty). It’s not so much about discipline. The discipline is what got you in. The relationships get you through.”

On art:

“How I see the world – in terms if what part of life I’m imitating in my work – seems like a moral obligation to me. The way I interact with people, the way I hope for people; I have that embedded within my material and whatever I’m working on. It’s so specific. But the dialogue around art is often different. Critique in art can be such obsession with intense reason and cost/effect, blah-blah, blah-blah, blah-blah, concept, aesthetic… I hate that kind of conversation. I use art as my arena of letting go.”

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If you can spend some time with Norleen, do it. See her work. You’ll see there’s a bit of divinity hanging in the air.

 

First of 15

2015 is already shaping up to be a year full of potential for Art Stuff!

~ I was part of the jury for the True/False Film Fest exhibition that will take place this month at Imago. Titled The Long Now this exhibition follows the theme of True/False this year. Click the image for more info.

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~ After the The Long Now exhibition comes down, I’ll be in a show at Imago with Jennifer Ann Wiggs and Chris Fletcher, two local artists I admire and respect. It should be fun – I’ll be exhibiting some of my digitally-based work for the first time!

harris-f_gdetailAnne Harris – figure/ground (detail)

~ A show I’m organizing and curating at Anne Arnudel’s John A. Cade Center for the Arts Gallery in Maryland opens on the 26th. I’ll be giving a talk there on the 28th concerning the topic of “Subject and Subjectivity” in regards to contemporary representational painting. I am pleased to note that two of my artistic heroines – Anne Harris and Catherine Kehoe – have agreed to be in the exhibition. It’s blowing me away to think I’ll be sharing space with these two great painters, not to mention the likes of David Campbell, Erin Raedeke, and the others I’ve invited to this exhibition.

Campbell-Death_TransmissionDavid Campbell – Death Transmission

Exhibition Information:

Title: Subject and subjectivity: a selection of perceptual paintings
Curated by Matt Ballou (University of Missouri). Organized by Matt Ballou and Matt Klos (Anne Arnudel)

Dates:

January 26-February 26, 2015
John A. Cade Gallery at Anne Arundel Community College

January 16-February 27, 2016
WIU Gallery – Western Illinois University

Other venues are also considering this exhibition.

1-img_0774Kat Arft – Mourning the Death

~ In May Kat Arft and I have a show together at the Craft Studio Gallery at the University of Missouri. Entitled Four Large Drawings, the exhibition will feature some pretty massive drawings; heights and widths 6 or 7 or 8 feet. Should be awesome.

~ Finally, my first foray into online teaching took place this past semester, and now work is being done to quantify what really happened. There was some mixed success – and my class has been approved to run again next fall – but I have been collaborating with a PhD candidate, Catherine Friel, who is an Academic Technology Liaison at ET@Mizzou to get some hard data about how the online course worked in comparison to my standard face-to-face classes. Some have wondered – myself included – whether students can learn drawing in an online environment. At some point soon I’ll go over some of what we’ve learned and I’ll share my perspective on delivering fundamental drawing concepts over ye olde interwebz.

videoclassMe, “delivering fundamental drawing concepts over ye olde interwebz” in 2014.

Anyway, here’s to 2015!

David and Patch

David-and-Patch2014David and Patch (Professor David Oliver’s Mandala). Acrylic and gold on panel, 30 by 30 inches, 2014. Click the image for enlargement.

Professor David Oliver is an amazing person. He is a husband, father, and grandfather. He is a professor and mentor. He is passionate about life and justice and hope. He is dying.

Diagnosed with Stage IV nasopharyngeal carcinoma in 2011, he knew his days were limited. An expert on aging who had built a long career in Gerontology and understanding end-of-life issues, David knew that he could apply all he’d studied, learned, and implemented to his cancer. In the years since the diagnosis he has produced a series of videos that detail his cancer journey on his blog, written a book on demystifying death, and won awards (along with this wife) for work on improving end-of-life care.

David’s story is certainly inspirational (you can read more at The Huffington Post here), but it also has a personal angle for me. David was my mother-in-law’s mentor nearly 40 years ago when she was a student at the College of the Ozarks and he was a professor there. Over the years they have continued to have a warm relationship, and mom was dramatically influenced by David’s character and understanding. As providence would have it, his career journey led him to the University of Missouri. When I arrived to teach here in 2007 he was an early advocate for me, meeting with me and encouraging me. The mentor came full circle in impacting our family.

I knew I wanted to make a portrait of him for my Becoming the Student series, but I didn’t want to impose, figuring he had better things to do with his remaining days than pose for me. But when he emailed me one day last month to talk to me about a lecture I’d recently given, I ventured to ask about making his portrait. He said that he probably only had a matter of weeks left, and that we’d have to act fast, but that he’d be happy to be a part of it. The next morning I was sitting in his living room making the painting you see above.

Photo Dec 20, 2 01 44 PMDavid and I pose with the portrait in progress, November 2014.

While I worked on the portrait we had a great conversation about education, travel, teaching, and family. After, while I worked to add in the mandala structure, we exchanged emails which added to our dialogue. Here are just a few nuggets from our time together:

On travel:

“Travel is the greatest education.” David has been to hundreds of major cities around the world over the decades, but has spent time in Istanbul, Barcelona, Copenhagen, among others, in the last few years. His eyes twinkle and voice grows excited while recounting past travels through Europe and Asia with family.

On experiencing cancer:

“I can’t tell you what cancer feels like, but I can tell you about how the treatments feel. I chose the non-aggressive path.” David had to make big choices about the sort of care he would undertake to fight his cancer. Though he has had rounds of chemotherapy and surgery, he chose to limit them both. Ultimately he went with palliative and hospice care over more forceful options. “My voice is my life” he told me, so he decided not to have surgeries that would have resulted in a loss of his ability to speak.

Photo Dec 20, 3 41 55 PMAbove: the piece installed above the mantel at David’s home.

On the goals for palliative care and hospice:

“I want to be at Home, surrounded by Others, be Pain-free, and Engaged as long as I can be. That acronym spells HOPE. It’s pretty simple, and that’s the exit strategy. I want to be a role model for another way.” By entering hospice early and focusing on his HOPE model, David has been able to spend a lot of quality time with family and even go to events like basketball games for his beloved Mizzou Tigers.

On Patch:

“I’m a spectator in my own body – I call him Patch. But I’m thinking, feeling, acting, and taking advantage of every moment I’ve got left. I have millions of moments to experience, so I’ll let others worry about Patch. Patch is off doing his thing; the hospice team is taking care of him. I was able to let him go. I think people who continue to treat their body view themselves as one holistic entity… they’re not able to separate to understand what’s inward. There are many things in the body that are happening and you can’t stop them. But I am not my shortness of breath or anything else that may be happening to Patch. I’ll just let hospice patch him up.” Calling his physical body by the name Patch is a way for David to both embrace the care that body needs and reinforce the distinction between his identity and his body. That body is passing away, but David sees his inner life as separate from the vicissitudes forced upon his “shell” by cancer, medications, pain, and general breakdown. David has found a way to grasp his embodiment without seeing it as absolutely necessary to his personhood.

David-and-Patch2014_angleAbove: The portrait shown at an angle to show the change of reflected light in the gold leaf.

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My notes about this piece:

The most significant material I have used in this painting is gold leaf. Gold leaf is a traditional medium to suggest the divine and sacred. I also chose to build a complementary-colored mandala as the field upon which the portrait is embedded. Additionally, I centered the transition between David’s physical portrait and his inverse, transcendent manifestation around the Crown Chakra. The Crown Chakra is is associated with meaning and identity in the context of divine consciousness and enlightenment; the part of us that passes beyond this mortal coil. Surrounding that arena of transition and transformation are laurel leaves, traditional symbols of victory and attainment. This piece is meant to connect David’s personal associations (his name, his body, his visage) with broader, more universal conceptions of moving from one state to another – higher, entirely other – state. I combine Eastern conceptions encapsulated in the mandala with Western notions included in the idea of the memorial portrait. In some sense this is an apotheosis artwork (as an example, see The Apotheosis of Homer by Ingres).

The painting is meant to suggest that a binary group is being presented: David and Patch, bright gold and dark black, transformation and deterioration, transcendence and impermanence, immaterial and material, contemplation and dissolution, enlightenment and illusion, and the circle and the square… there are many others that could be named. These all speak to ancient alchemical oppositions.

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I am honored to be able to celebrate this humble and gentle man. Even in the last days and hours of his life he is encouraging, hopeful, loving, and inclusive. He has been given the great gift of applying his life-long study of aging and dying to his own direct experience, and he’s drawn others into it with joy. I’m so thankful I got to include David in my portrait series.

Thank you, David!

PS: And a thank you to Debbie, David’s wife! She crafted this beautiful handmade textile piece for my new son:

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MU’s Cast Gallery Provides Students With a Link to the Past

IMG_0935.JPGStudents at work in the Gallery of Greek and Roman Casts, Mizzou.

Recently I wrote a short piece for the Columbia Missourian to highlight the work the Museum (and my students!) are doing; click here to read the piece. Here are a couple fantastic works from two of my students this semester:

IMG_1327.JPGAbove: a drawing of a detail of a cast by Caroline Pins. Graphite on paper, 2014.

IMG_1328.JPGAbove: a cast drawing of Dancing Girl by Hye Jun Kim. Graphite on paper, 2014.

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I’ve asked my students to comment below regarding their experiences at the Gallery. Many of them wrote compelling reflections about drawing from the casts, so I’m pleased to offer them some space to share those thoughts.