By Show and Tell
By Bree Davies
By Bree Davies
By Cory Casciato
By Emilie Johnson
By Robin Edwards
By Bree Davis
By Josiah M. Hesse
In visual art, representations of the outside world have a formidable history--some 14,000 years' worth. Which, of course, creates a problem for contemporary artists: How can they record external reality and still do something new? To meet this challenge, painters in recent years have advanced a variety of artistic strategies, including a broad-based surrealist revival, a renewed interest in Sixties sources such as pop art and photo-realism, and an increasing emphasis on advertising art and comic strips--related phenomena --as inspiration for imagery.
Two provocative group shows at the always reliable Arvada Center for the Arts and Humanities rise to the challenge of making realistic painting lively and new. Occupying about half of the expansive main-floor galleries is Still Reality: Narrative and Interior Paintings, whose title would seem to advertise a stodgy still-life exhibit, but that's definitely not the case. Instead, Arvada Center curator Susan Sagara, who organized Still Reality, took a wider view and also included figural and landscape paintings. The four well-known, accomplished and compatible painters she chose for the show all employ representational imagery, but none use it to make traditional paintings.
First up is Jerry Kunkel, the longtime University of Colorado fine art professor who's been exhibiting around here for more than twenty years. Kunkel is represented by several very impressive, multi-part paintings that feature enigmatic subject matter. The show opens with a pair of large Kunkels: "Objects in Mirror Are Closer Than They Appear" and, hung across from it, "She Wanted Everything to Count," both done in oil on assembled small panels of masonite. For these pieces, Kunkel has created individual paintings with clearly defined margins on individual panels; the tiny paintings, which are all the same size, feature different subject matter (although most show the figure). Each of these panels has been pierced at all four corners so they can be attached to the wall with prominent tacks; Kunkel makes unlikely juxtapositions of the images by simply lining them up and arranging them in an inverted stair-step grid. Kunkel's painting style, which has taken many twists and turns over the years, here combines the character of photographs and the expressive and naive painterly techniques. His sources range from the old masters to pop art.
Kunkel uses many of the same sources in the marvelous "Some Things Are Almost Impossible"--but rather than in a grid, here a dozen square paintings are lined up horizontally. Running below is a typeset narrative caption on a black ground that takes up the topic of the impossible. In another Kunkel piece, "She Got the Whole," five individual paintings are again hung in a row, but instead of being arranged tightly, they're widely spaced on the wall. While most of these five paintings reveal different views of a man, including an erotic torso detail (perhaps Kunkel himself), "She Got the Whole" is more than a portrait series. Another panel captures a birdbath in twilight; yet another a pair of hands that cradle a globe, which might relate the piece back to its title. And each of the images is "framed" in a gold-leaf field with a real frame around it.
There's a definite dark mood to Kunkel's approach, and though it's difficult to say precisely what these paintings are about, they evoke broken relationships--and provoke considerable thought. Many artists now use this multi-part format, but based on the pieces shown here, Kunkel is one of the best at using it effectively.
Beyond the Kunkels, the soaring central gallery holds a group of large photo-realist paintings by another Boulder artist, Linda Lowry. Although Lowry teaches art at Arapahoe Community College, her paintings are miles away from that workaday world and capture interiors that reflect a life of luxury and beauty. In the striking oil-on-canvas "Philae's Temple," Lowry records a beautifully appointed room complete with grand piano. But even though she's clearly based this painting on a photograph, she has radically altered the perspective through unconventional foreshortening. The view seems to be through a fish-eye lens (the photo on which the painting is based was likely taken with a wide-angle lens), and the vertiginous effect leaves the viewer feeling as though he might literally fall into the painting.
Also dizzying is Lowry's "Bucking Tradition," another oil on canvas that illustrates a dining room appointed with traditional furniture and modern art. All of Lowry's paintings shown here include pictures of other paintings. In "Bucking Tradition," it's a non-objective color-field work, which Lowry renders realistically--in the process creating, perhaps unintentionally, some conceptual content by making a representational version of an abstraction.
Although Greenig is the only artist who contributes landscape paintings to Still Reality, he's long given this traditional form a tweak by dividing his paintings into different parts that give the viewer various perspectives on related scenes. For "High Tide," an acrylic on wood that's a vertical diptych, on the top and functioning as the background is a seaside view; on the bottom, serving as the foreground, is a pile of dead fish, stacked neatly as the day's catch. The two panels are divided by gilt moldings placed within the traditional frame. Another Greenig diptych, "Burning of the Grand Banks," an acrylic and mixed media on wood, places a blazing prairie--in a scene that's mostly sky--next to a tiny realistic model of a canoe.