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.

 

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: 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:

Photo Feb 22, 3 57 30 PMPhoto Feb 22, 3 58 47 PM

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.

Opening at Cade Center for Fine Arts at Anne Arundel

Today I had the great pleasure of giving two talks (Meaning in Objects and Trajectories) to students and others at Anne Arundel just outside of Baltimore, MD. The turnout and response were wonderful; it was especially nice to have my father in law Steve and brother in law Daniel attend the main talk for moral support!

Tonight, the show I curated here – Subject and Subjectivity – will have an opening reception. To celebrate this I’m going to post a few pictures of the work below. It really is astounding and humbling to get to have my work on walls with people I’ve admired, shown to students, and studied for so many years. Artists like Catherine Kehoe, Anne Harris, and David Campbell have been in my head for a decade. It’s wonderful to have put the show together, to see their surfaces and handiwork, and – beyond all of that – to have my show be associated with a sister exhibition at St John’s College: A Lineage of American Perceptual Painters, curated by Matt Klos (who has work in my show). These two exhibitions, happening just 15 minutes away from each other, are a painter’s goldmine. If you’re in the area, come see them!

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imageDetail of work by Erin Raedeke

imageDetail of work by Catherine Kehoe

imageDetail of work by Matt Klos

imageDetail of work by Christian Ramirez

imageDetail of work by David Jewell

imageDetail of work by Anne Harris

imageDetail of work by David Campbell

imagePanorama of the main room of the exhibition.

 

Exhibition info:

A Lineage of American Perceptual Painters,
The Mitchell Gallery
St John’s College
60 Campus Avenue
Annapolis, MD 21401
Running through March 1, 2015

Subject and Subjectivity
The Cade Center for Fine Arts
Ann Arundel Community College
101 College Parkway
Arnold, MD 21012-1895
Running thought February 26, 2015

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Many thanks to all who made this possible, especially the artists:

Anne Harris

David Jewell

Catherine Kehoe

Matt Klos

John Lee

Aaron Lubrick

Carolyn Pyfrom

Erin Raedeke

Christian Ramirez

Brian Rego

Megan Schaffer

Shannon Soldner

Peter Van Dyck

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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:

Photo Dec 20, 3 32 03 PM

Every Brushstroke An Opportunity to Help Change a Life

il_570xN.276209062Situation and Circumstance Overcome, Oil on Panel, 16 by 20 inches. 2003.

Eleven years ago I created this painting. Over the years many people have asked me to create copies of it for them. There are more than 15 versions of this piece scattered across the US. Now you have an opportunity to get one of your own AND help support the adoption process for two of my good friends, Aarik and Brooke Danielsen.

il_570xN.276129237Detail of Situation and Circumstance Overcome.

The original piece is one of the most important artworks I’ve created. Its quality of construction, unique place in the story of my art making, and the personal significance it holds cause me to value it highly. For $400 you can have your very own version of this painting. I will donate every cent of the sale price to the Danielsens’ adoption fund.

I am taking up to 10 orders and I will deliver the finished works by July 2015. If you want to have a beautiful, evocative work of art for your home and help give a child a home they deserve, please consider ordering one here. I love the Danielsens and am excited to give anything I can to their adoption journey. If you follow my blog, you know how close adoption is to my heart. I hope you’ll give me a lot of work to do; every brushstroke will be done with love and joy, and in the knowledge that each one is making a real difference to a real person.

To find out more about the Danielsens’ adoption and learn more about how you can help, check out their blog here.

If you have questions let me know.

il_570xN.276209106Detail of Situation and Circumstance Overcome.

PLEASE NOTE THAT THE SAMPLE IMAGES ABOVE ARE EXAMPLES OF THE ORIGINAL PAINTING. Copies that I create will have variation, but will maintain the overall composition, color, and general surface structure of the original, and will be created exactly to the scale of the original.

Becoming The Student #17: Mike Seat

photoMike, Pastel on Paper. 14 by 13 inches, 2014.

Mike Seat is a pillar of the community here in Columbia, MO. He’s deeply embedded in the art world here, and has a gentle and calming presence. I’m lucky enough to get to hang out with Mike on the Board of the Columbia Art League where we both serve. He is really a wonderful man who is generous with his time. I always feel recharged after a few minutes with him. When beginning my Becoming the Student series, I knew I’d get Mike in there. Our conversation while he sat for me was so pleasant – and he always feeds me well when I visit! If you’re in central Missouri, get to know this guy.

On What Made Him Come To Art

“As a kid growing up, my dad was a painter and a photographer. I think I picked up a lot of respect for art through him. Then in high school I made art and thought about going to Art School but that didn’t work out. After that I went out into the world, started making a living… and art seemed like just a luxury for me. I didn’t have time to do it. But it was always something that was working within me. I loved aviation and went into air traffic controlling; that was the main thing for me for a long time. In the back of my mind was always a deep respect for painters and sculptors – artists in general – and that stuck with me. After retiring and moving here to Columbia – and one reason we moved here was the art culture here –  I just threw myself into the art community here. One thing I never thought I’d learn to do was wheel throwing pots, but I got to do that right away at Access Arts. That reignited it all for me. I got to sense again that great experience of making art. So after a couple years, especially while volunteering at the Columbia Art League, I started making my own work more seriously. At the At League I got to see really fine artists’ work along side amateurs aspiring to that higher level. That inspired me.”

On The Power of Art

“Making work is always a great experience. That alone is worth it. But having the piece left over as a record is important, too. The icing on the cake is getting to talk to people about it. What moved them. Getting their feedback. And it really is about expression, capturing a moment, sharing the moment, and trying to display the significance of the moment so that when a person walks away from a piece of art they have really experienced something.”

On The Feeling He Looks For In Art

“I really rely on the past. Art is a tradition. I often think about the artists who have made art over the thousands of years of recent history and know that a lot of them are unknown to us… (In terms of specific artists) I do tie in to the Impressionists. I identify with them a lot. They were painting quickly, capturing suggestions, capturing feeling, and opening new territory. I aspire to carry on there. That’s one thing about connecting with other artists; we’re all sort of doing the same thing. We’re all somewhat aware of this other plane of experience. So it’s hard for me to pin it down in words… but for me, sometimes, a single brushstroke can feel make me like I’m so much in the zone – like hitting a tennis ball in the sweet spot – and that immediate emotional feedback you can get from yourself can be so addicting. And what a great joy it is to savor what you see, to savor shapes and colors as they come together to manifest some beauty you’re experiencing. It is, in some ways, like having a very good meal; I could eat up that paint it’s so good sometimes.”

On What Makes A Good Portrait

“When a genuine, honest moment of humanity has been shared.”

You can see Mike’s photographic work beginning at the end of September at Imago Gallery and Cultural Center. Mike will be showing with the ceramist Yukari Kashihara and the show will be on display September 30 – November 7, 2014.  reception for the show will take place on Friday, October 10 from 6-9 PM.

The Chrysanthemum Powder (A Portrait of CaiQun)

I’ve been working on a portrait of CaiQun for over 6 months now. The resulting image is, perhaps, actually more of a self-portrait-via-still-life. The significance of the chrysanthemum powder is huge: it was CaiQun’s last daily material connection to China for many months after she came home with us. The first two years of her life she drank the warm beverage before mid-morning naps. We quickly learned her routine and, informed by the orphanage, purchased many bags of the powder to bring back to the US with us. I saved the last bag we used. It has, like so many other seemingly inconsequential objects, become a part of my studio environment. As I observed it over the weeks and months after China, it transformed into a kind of icon.

Since I tend to be an observational, perceptual painter, I like to keep items I might paint near me as stimulation and inspiration. I placed the bag into one of my paint boxes. There it sat, situated among paint and brushes and sketches for quite a long time, until one day it grabbed my attention with force. The addition of a few other elements – bottles, a sketchbook I’d used in China, a sketch of festival lanterns – and the stage was set.

Chrysanthemum2014The Chrysanthemum Powder (A Portrait of CaiQun), Oil on panel, 16 by 16 inches. 2014. Click to super-enlarge it.

Anyway, I really love this painting.

It goes up in an exhibition next week. If you’re in the mid Missouri area I hope you’ll stop by to see it, another piece I made, and the work of a number of other artists from Mizzou and China. Here’s some info about the show:

East-West Dialogues: Paintings by Chinese Visiting Scholars & Their Hosting Art Professors

Participating Artists:

Zhonghua Gao, Min Li, Rujing Sun*, Ruiqin Wang, Matt Ballou, William Hawk, Mark Langeneckert, Lampo Leong

Show: August 4-15, 2014
Reception: Tuesday, August 5, 2014, 4-6pm

Craft Studio Gallery, University of Missouri-Columbia
518 Hitt Street, N12 Memorial Union, Columbia, MO 65211, USA
http://craftstudio.missouri.edu/gallery/
573-882-2889
Gallery Hours: Mon-Thurs 9am-6pm, Fri 9am-4pm, Sat 12-5pm

Exhibition organized by the Office of the Vice Provost for International Programs, The MU Confucius Institute, and the MU Department of Art.

*Rujing spent a great deal of time with me in my Color Drawing classes during the Spring of 2014. She’s a wonderful artist and was a pleasure to have in my classrooms.

Becoming The Student, #14: JJ

I’ve been teaching at The University of Missouri for seven years. In that time I’ve served on many graduate thesis committees and developed a number of great, long-lasting relationships with grads. But it wasn’t until Jane Jun arrived three years ago that I was a “Main Advisor” or “Head of Committee”. The opportunity to work closely with Jane for those years was a huge benefit to me. As Jane progressed through the program she made huge changes in her work and found ways to grow that were both necessary and surprising. She rose to meet difficult challenges when she really needed to. Her thesis work – which dealt with female Asian identity, diaspora/immigration, stereotypes, societal (and personal) expectations, as well as the ways portraiture and self-portraiture have been transformed in recent years – was illuminating and meaningful. Her thesis writing was excellent and was important for me, as the father of an adopted daughter from China, to spend time thinking and dialoguing about on so many levels. It was a privilege to be up close and see all of her work come together.

enchanter-whatgradclassisJJ and me at Shakespeare’s way back in her first year of grad school.

Now JJ is heading back to South Korea to begin her post-grad school life. I have to admit that the annual exodus of grads is hard for me. So much mental and emotional energy goes into working with my students, so much hope and desire for them to do well. Add to that my sentimental nature and you can probably imagine my mindset each May.

2014-05-18 23.02.38JJ and me at our last Shakespeare’s hangout last month. We point off into the heights of a glorious future.

In creating my Becoming the Student portrait of JJ, I wanted to maintain my method – a short session from observation, with only minor changes after the fact – while at the same time celebrating her achievement. I’m glad she agreed to pose in her cap and was willing to maintain a calm – if a tad pensive and sad – expression. If you know anything about her work (click here if not), you know that the seriousness of her pose and quietude of her face here are nothing like what you’d normally see in an image of her.

JJportraitJJ, MFA. Oil on panel, 8 inches in diameter, 2014.

I’ll sure miss her shouting “SIRRRRRR!” when she sees me.

I already do.

Two Shows Going Up Soon!

I’m involved with two really great group shows based on the landscape right now. One is at the Deines Cultural Center in Russell, KS and the other is at IMAGO in Columbia, MO. The IMAGO show – Landscape: Idea and Ideal – is the inaugural exhibition for this new downtown gallery space. It’s really beautiful and I’m honored to show with a group of friends and former students Eric Norby, Matt Rahner, Megan Schaffer, and David Spear.

imagoimageA panorama of the Imago interior – it’s a beaut! Click for enlargement.

The group show at the Deines – called Finding Balance – is also about landscape. Curated by Joel T Dugan, the show features 15 artists from around the country and the catalog for the show looks really sweet. Norby and Schaffer are also in this exhibition, as is my good friend and former student Jacob Maurice Crook, who just recently earned his MFA from Syracuse University. Glory all around!

findingbalanceNice to see Norby’s work on the cover of the catalog – Click to download it!