Showing posts with label modern art. Show all posts
Showing posts with label modern art. Show all posts

Saturday, January 4, 2020

Renwick's Michael Sherrill Retrospective ends Sunday

At the entrance to the Michael Sherrill Retrospective at the Renwick Gallery/Photo by Patricia Leslie

In his North Carolina studio close to Asheville at a place called "Bat Cave" (that is the real name), naturalist/artist Michael Sherrill brings it all home, his love for the outdoors, his creativity, and his desire to make the world understand the loss of Earth's gifts and those we take for granted.

Using glass, clay, and metal, Mr. Sherrill designs and sculpts nature's bounty and more for wall hangings and display. The Renwick Gallery has 73 of them up for this last weekend.

Michael Sherrill, Aqua Bottles, 1995/Photo by Patricia Leslie
Michael Sherrill, Queen of Hearts, c. 1990, Racine Art Museum, left, and Head and Shoulders, c. 1990, collection of the artist/Photo by Patricia Leslie

Michael Sherrill Retrospective spans his artistic evolution over more than 40 years, beginning with his teapots and ending with colorful metal animals mixed inside and around real and fictional plants.
Michael Sherrill Retrospective, Smithsonian Renwick Gallery/Photo by Patricia Leslie
Michael Sherrill, Bumbleberry, 1999, Mint Museum. The wall label says this work was inspired by the non-native kiwi plant which grew outside the artist's studio and seemed to always  grasp for light and support.  I don't know about you, but this sure suggests a snake to me.  Perhaps I mixed up the proper plant credit? Update:  I did not mix them up!/Photo by Patricia Leslie


Mr. Sherrill's beginnings were not unlike those of many artists, but few have six children as this artist does. At his Washington opening, he said: “I had to balance doing my best work and surviving economically.”

The 2008 recession took its toll on some of his potter friends who were unable to continue their art, "growing bored" with struggles. To the persistent go the laurels, and Mr. Sherrill, who started as an abstract potter, kept up his craft which became harmonious sculptures of nature.

Michael Sherrill at the opening of his retrospective at the Renwick Gallery, June 27, 2019
/Photo by Patricia Leslie


He grew up listening to the Rolling Stones and Bob Dylan who, he thinks, invited listeners to join in their music, and he wants viewers to do the same with his art:  participate.
Michael Sherrill at the opening of his retrospective at the Renwick Gallery, June 27, 2019/Photo by Patricia Leslie
Michael Sherrill, How Plants Travel, 2003, collection of Marsha Madorsky.  Mr. Sherrill created this about the time his works shifted from table tops to wall hangings.  Here, the flowers gradually diminish in size as the eye moves up the curvature/Photo by Patricia Leslie

For models (including snakes which are easily found around his mountain studio; he kept one in his high school locker, he said) he uses wires and sometimes sketches designs in advance but not always. His sculptures are colored metal, many with beautiful, small flowers, their shapes and sizes reminiscent of plants and nature's limbs which float on seabeds.
Michael Sherrill, What the Eye Sees, 2003, collection of Ann and Tom Cousins. The open areas, according to the label copy, are intended to invite viewer interpretation/Photo by Patricia Leslie
Michael Sherrill, Brightly Hidden, 2010, Museum of Glass, Tacoma, WA.  This was made by Mr. Sherrill when he served as an artist-in-residence at the Tacoma Museum of Glass.  It is designed to show the snake in the Garden of Eden, good v. bad, beauty v. danger/Photo by Patricia Leslie
At the Michael Sherrill Retrospective, Smithsonian Renwick Gallery, June 27, 2019/Photo by Patricia Leslie
A photo of some of Michael Sherrill's "mudtools" on display and available for sale at his website/Photo by Patricia Leslie

To fashion his works, Mr. Sherrill, mostly self-taught, needs specialized tools which he makes himself and sells on his website. (They are pictured on a wall at the Renwick.)  

On a recent trip to Japan, he found reproductions of them for sale in two shops.

Organizer of the show was the Mint Museum in Charlotte, N.C., which has named Mr. Sherrill , "Artist of the Year."



What: Michael Sherrill Retrospective and see Reforestation of the Imagination by Ginny Ruffner in an adjacent gallery.
 

When: Now through January 5, 2020. The Renwick is open from 10 a.m.– 5:30 p.m. every day.

Where:
The Smithsonian's Renwick Gallery, 1661 Pennsylvania Avenue, NW, Washington, D.C. 20006, at the White House 17th Street block, adjacent to Blair House.

Admission: No charge

Metro stations: Farragut North or Farragut West

For more information: (202) 633-7970 (recorded) or (202) 633-2850

patricialesli@gmail.com 

Saturday, September 14, 2019

Oliver Lee Jackson in person Sunday at the National Gallery of Art

 
Oliver Lee Jackson, No. 7, 2017 (7.27.17), 2017, oil-based paint on panel, courtesy of the artist. Photo M. Lee Fatherree. © Oliver Lee Jackson


On stage and talking about his art and more on Sunday at 2 p.m. in the East Building at the National Gallery of Art will be Oliver Lee Jackson with curator Harry Cooper which will be the last event before the closure of the exhibition, Recent Paintings.

It’s not often that a living artist appears on stage for an audience to hear and see with the curator, an opportunity not to miss.
Oliver Lee Jackson, Painting (5.27.11), 2011, oil-based paint on canvas, courtesy Lucy Goldman. Image courtesy of Rena Bransten Gallery/Photo M. Lee Fatherree. © Oliver Lee Jackson

Oliver Lee Jackson was born in 1935 in St. Louis, Missouri, and can claim professions as a painter, sculptor, draftsman, Army veteran, teacher, and organizer whose works are found in major American museums.

In the exhibition at the National Gallery are about 20 paintings Mr. Jackson has made over the last 15 years, some on view publicly for the first time. 
Oliver Lee Jackson, Painting (10.14.06), 2006, oil-based paint on canvas, courtesy of the artist/Photo M. Lee Fatherree. © Oliver Lee Jackson.  During the middle of the night when I was awakened by the tromping of footsteps above, this painting was immediately evoked by its similarity to the effects from the prison-like yard lights streaming on the inside walls of my unit. There the comparison ends for Mr. Jackson's Painting is much more colorful and cheerful than the dark and grey surroundings of a night with artificial light.
Oliver Lee Jackson, Painting (11.30.10), 2010, water-based paint and metallic enamel paint on canvas, courtesy of the artist/Photo M. Lee Fatherree. © Oliver Lee Jackson  
Oliver Lee Jackson's, Painting (11.4.10), 2010, on the left, and No. 5, 2018 (3.24.18), 2018 on the right/Photo by Patricia Leslie

Oliver Lee Jackson, Painting (11.4.10), 2010, water-based paint, metallic enamel paint, and applied canvas on canvas, courtesy of the artist/Photo M. Lee Fatherree. © Oliver Lee Jackson

The National Gallery says Jackson's works remain "rooted in the human figure while drawing on all the resources of modernist abstraction and expression.”
Guests admire Oliver Lee Jackson's, Painting (8.10.03), 2003, water-based paint and silver leaf on canvas, courtesy of the artist/Photo by Patricia Leslie  

 Oliver Lee Jackson, Triptych (3.20.15, 5.21.15, 6.8.15), 2015, applied felt, chalk, alkyd paint, and mixed media on wood panel, courtesy of the artist/Photo by Patricia Leslie



The works on display are like gigantic silhouettes, puzzles, some parts found in oceans; others, in dreamy states. Bold colors and big designs mark them as Jackson's own. It’s fun to try and decipher their meaning; interpretation lies in the eyes of the beholder. That's what art is all about. Jackson's paintings are contemporary, abstracts without obnoxious, blatant in-your-face messages


Unlike Psalm 14: "The fool said in his heart: 'All are corrupt and commit abominable acts; there is none who does any good,'" Mr. Jackson's works present hope that today's state of the world is more than dark and evil, for there is room for growth and optimism like a viewer finds on these walls.

Kaywin Feldman, director of the National Gallery of Art, with Harry Cooper, curator, center, and Oliver Lee Jackson at the opening of Recent Paintings, Washington, D.C. April 11, 2019. Behind them is Jackson's, Painting (10.14.06), 2006/Photo by Patricia Leslie


Mr. Cooper is the senior curator and head of modern art at the National Gallery of Art whose friendship with Mr. Jackson spans several decades and helped Mr. Jackson win an artist-in-residency position at Harvard University in 2002.
Michael Stein from Morgan Stanley, the sponsor of the exhibition, Recent Paintings, with Harry Cooper, curator, center, and Oliver Lee Jackson at the opening at the National Gallery of Art, Washington, D.C. April 11, 2019/Photo by Patricia Leslie
Oliver Lee Jackson, left, and Harry Cooper at the opening of Recent Paintings at the National Gallery of Art, Washington, D.C. April 11, 2019/Photo by Patricia Leslie
Oliver Lee Jackson, left, and Harry Cooper at the opening of Recent Paintings at the National Gallery of Art, Washington, D.C. April 11, 2019/Photo by Patricia Leslie
Oliver Lee Jackson, center, at the opening of Recent Paintings at the National Gallery of Art, Washington, D.C. April 11, 2019/Photo by Patricia Leslie
Oliver Lee Jackson, center, at the opening of Recent Paintings at the National Gallery of Art, Washington, D.C. April 11, 2019/Photo by Patricia Leslie


What: Oliver Lee Jackson:  Recent Paintings

When: Now through September 15, 2019





Where: The East Building at the National Gallery of Art, between Third and Ninth streets at Constitution Avenue, N.W., Washington, D.C. On the Mall. The National Gallery is open Mon
day through Saturday, 10 a.m. - 5 p.m., and Sunday, 11 a.m.- 6 p.m. 


How much:
No charge.

Metro stations for the National Gallery of Art:
Smithsonian, Federal Triangle, Navy Memorial-Archives, or L'Enfant Plaza

For more information:
202-737-4215



patricialesli@gmail.com





Monday, May 6, 2019

A Renwick 'disruption'


Dustin Farnsworth (b. 1983), The Reconstruction of Saints, 2018, collection of the artist who stands in the background/Photo by Patricia Leslie, Nov. 8, 2018

And just when you think you've seen it all...you haven't.

If you missed the show at the Renwick Gallery, Disrupting Craft: Renwick Invitational 2018, you may see photos of it in the catalogue or catch glimpses of some of the artists and their works here which will erase any doubts you may have about today's artists.


Four of them exhibit an amazing diversity of talents and creativity in their handmade works which connect to the world around us.
 Dustin Farnsworth, The Reconstruction of Saints, 2018/Photo by Patricia Leslie, Nov. 8, 2018
 
Dustin Farnsworth with his The Reconstruction of Saints, 2018/Photo by Patricia Leslie, Nov. 8, 2018
Sharif Bey (b. 1974), Assimilation? Destruction, 2000, Juliet Art Museum, Charleston, WVA. The catalogue and wall label note this work is based on Mr. Bey's M.F.A. thesis and includes 1,000 ceramic heads dumped from a bucket into a heap of "collective souls, breaking into more pieces each time."/Photo by Patricia Leslie, Nov. 8, 2018.


Whether you like a particular style, no one can deny the uniqueness, complexity, and sharp edges this group, all born in 1974 or later, bring to the public arena

Continuing the biennial Renwick tradition competition which began in 2000, the selected craft artists who "deserve wider recognition" are Tanya AguiƱiga, Sharif Bey, Dustin Farnsworth, and Stephanie Syjuco. Their works were chosen by Abraham Thomas, curator, Renwick Gallery; Sarah Archer, independent curator; and Annie Carlano, curator, Mint Museum, Charlotte, N.C.

 Sharif Bey (b. 1974), 3 White Birds, 2017, collection of the artist/Photo by Patricia Leslie, Nov. 8, 2018
Tanya AguiƱiga (b. 1978) Hand-Felted Folding Chairs, 2006-present, collection of the artist/Photo by Patricia Leslie, Nov. 8, 2018
Tanya AguiƱiga, Nopal, 2017, detail, Volume Gallery, Chicago/ Made from clay, horse and human hair, alpaca, flax, iron and more/Photo by Patricia Leslie, Nov. 8, 2018.

Tanya AguiƱiga, Nopal,  2017, Volume Gallery, Chicago/Photo by Patricia Leslie, Nov. 8, 2018
Stephanie Syjuco (b. 1974) with her Neutral Calibration Studies (Ornament + Crime), 2016, which, according to the catalogue "questions notions of cultural and political identity." The objects "compete for attention" while modernism begins to overtake colonialism. Collection of the artist and Nion McEvoy/
Photo by Patricia Leslie, Nov. 8, 2018
Stephanie Syjuco, Neutral Calibration Studies (Ornament + Crime), 2016, detail/Photo by Patricia Leslie, Nov. 8, 2018
Stephanie Syjuco, Neutral Calibration Studies (Ornament + Crime), 2016, detail/Photo by Patricia Leslie, Nov. 8, 2018
Stephanie Syjuco, from left, The Visible Invisible: Plymouth Pilgrim (Simplicity), Antebellum South (Simplicity), and Colonial Revolution (McCall's), all 2018 and from the collection of the artist/Photo by Patricia Leslie, Nov. 8, 2018
Stephanie Syjuco with her, from left, The Visible Invisible: Antebellum South (Simplicity) and Colonial Revolution (McCall's), both  2018/Photo by Patricia Leslie, Nov. 8, 2018
Stephanie Syjuco with her Ungovernable (Hoist), 2017,  "which illuminates the rich craft history of protest banners ...[and] highlights the distortion of images and information in the Internet age," according to the catalogue. Collection of the artist and Ryan Lee Gallery, New York/Photo by Patricia Leslie, Nov. 8, 2018

Ms. AguiƱiga was born in San Diego but grew up in Tijuana. An activist who questions gender and nationality, she often relies upon her background as a Mexican American for inspiration. In college she studied furniture design.

Mr. Bey was born in Pittsburgh and focuses on African- American culture and Oceania. A Fulbright scholarship recipient, he has a Ph.D. in art education from Penn State and teaches at Syracuse University.


Mr. Farnsworth was born in Lansing, Michigan where the poor economy has influenced his life and work. His XLIII concerns the 43 persons under the age of 18 who were killed by U.S. police officers in 2015. He holds a B.F.A. in woodworking and functional art from Kendall College of Art and Design.


Ms. Syjuco was born in Manila and is based in California where she teaches at the University of California, Berkeley.  Her concentration is large-scale installations about political dissent and other societal issues. According to the catalogue, she is the only one included in the show without a connection to North Carolina, either as a student and/or artist.

More information about each participant and their works may be found in the softbound catalogue ($34.95) available online or in the shop.
 
In Disrupting press releases, the Renwick stressed the importance of choosing artists who challenge the commonplace while seeking to connect communities, and urge collective engagement, wisdom, and tolerance in the age of divisiveness.

Fifty ceramic, photographic, sculptural, woolen and fiber works were on display.

What: Disrupting Craft:  Renwick Invitational 2018

When: The Renwick is open from 10 a.m. – 5:30 p.m. every day, except Christmas Day. Disrupting Craft ended May 5, 2019.

Where: 1661 Pennsylvania Avenue, NW, Washington, D.C. 20006, at the White House 17th St
reet block, adjacent to Blair House.


Admission: No charge

Metro stations: Farragut North or Farragut West

For more information: (202) 633-7970 (recorded) or
(202) 633-2850  
 

patricialesli@gmail.com