Tag Archives: Emily Elizabeth Goodman

Newsletter

Something More

Something Pretty at Transylvania’s Morlan Gallery means to complicate that idea. The artwork does so in a way that is both literal and conceptual, dealing with the viewer’s experience and judgment of the objects on display and the baggage brought to ideas of beauty, aesthetics, identity, and power by the act of looking and the often-trivializing effect of prettiness.

The works shown present an emphatic statement that they are more than nice things to look at. Instead, these works and their artists reach out to the viewer in ways that are deeply affective and lend a great deal of depth and complexity against the often patronizing and dismissive designation of what is called pretty. As Curator Dr. Emily Elizabeth Goodman explains, the word “renders anything associated with the term solely superficial and without any intellectual or cultural significance.” It usually plays on surfaces and appearances, concerned with outward expressions that can be categorized and hierarchized according to things like class, gender, and racial and sexual identity. But Goodman presents a means to complicate this process, a means to challenge the viewer’s own perceptions and biases in regards to art, artists, and their subject matter. It is an opportunity to examine the ways beauty can be a tool of erasure rather than visibility.

Loosely grouped by media, the works are displayed in several sectors within the gallery. Dominating a single walled-off area is a projection of HuiMeng Wang’s video work You Are Beautiful You Should be Seen (2015). As a kind of introduction that immediately grabs attention when entering the gallery space, the video shows the artist on a windy and overcast beach. She washes large exposed driftwood tree trunks and attempts to dig them out even as the blowing sand encroaches and reburies them. A narrator recounts the story that spawned the footage, and explains how such a situation and the beauty it holds is fleeting and often comes up against what one expects it to be. The narration is spoken with a generic male voice and its tone curtly matter-of-fact. As the video loops this disconnect between image and story seems to grate against deeper implications of visibility and beauty. Though a glossy sheen is provided by the narration, Wang’s nuanced meditation on beauty and depiction does not remain hidden.

Angela Dufresne, ‘Listen to Me You Idiot’, 2013

This engagement with pretty surfaces and what lives beneath them (or outside them) is reiterated as the viewer shifts to the exhibition’s sector of painted works. The painted surface was long a modernist preoccupation and here two of the artists artists penetrate the concept of surfaces through an engagement with images and content. Angela Dufresne’s works play with the multifarious conceptions of being painted. It’s Like This (2012) and Listen to Me You Idiot (2013) feature bright and thickly applied swathes of paint combined into grotesque hybrid animal-human faces. But these are not monsters, their expressions are complex and conflicted, and their colors worn like masks. Similar to the idea of being painted up, the concept of expression is both an affectation and a way of staking out and claiming identity. In these paintings, the surface is inextricably tied to both the painted object and painted body. In both cases there is a striking amount of depth.

Likewise are Tiffany Calvert’s painting investigations into the nature of surfaces, application of paint, and complex engagements with the tenuous nature of beauty. Her largest work, Untitled #305 (2018), is a deconstruction of an old Flemish still life. The image is digitally processed and printed on canvas and painted over with bold, wide, and flat strokes of blended color. The painted strokes sit on top of and next to similar digitally produced effects. Together they bring out the constructed nature of the painting, not just in its materials, but in the connection between images and reality. Two other works, Untitled #297 (2017) and Untitled #290, allow the viewer full access to the illusion. Frescos applied to roughly shaped insulation boards, the painted objects only hide their front and back surfaces. The banal material in-between shatters the paintings’ ability to easily inhabit the space of artistic objects and artistic beauty. Instead they teeter on the conceptual edge between art and just pretty objects.

Justin Favela, ‘Ahuehuete de la Noche Triste (After José María Velasco)’, 2017.

A bridge between materials and beauty is further stressed in the art objects of Justin Favela. Here expectations and identities clash. With images drawn from the oeuvre of 19th century Mexican painter José María Velasco, Favela’s “paintings” reappraise Velasco’s concepts of land nationalism through the application of media heavy with racial and class implications. Velasco’s lofty nationalist propaganda, in the form of idealized landscapes, is reimagined in Ahuehuete de la Noche Triste (After José María Velasco) (2017) with the cut paper of the Mexican piñata. The landscapes are abstracted to the point that they lose cohesion and become much more fluid patterns of shape and color. No longer tied to often-overtly racist nationalism, Favela’s objects create new spaces for engagement and exploration where the viewer might be free to encounter identities and experiences with a depth and through materials not before considered.

Subjective ideas of beauty and prettiness are often used to close off certain identities, bodies, or experiences from deeper engagement. The complexity and ambivalence of beauty is a common thread in the overall experience Goodman has curated. All these artworks have a depth that seeks to muddle the pleasurable and powerful implications of looking. This is a call to reexamine what it means to look. This seems most complete in Stephan Rolfe Powell’s glass objects. They begin as playful and aesthetically interesting but reveal much more in the implications of their forms. Two colorful glass objects, Cracking Frenetic Glare (2006) and Twilight Curiosity Buns (2000), are playful, erotic, presented as pseudo-bodily spectacles. Yet below their surfaces runs an anxiety about such bodily comparisons, especially as the objects sprout long phallic tubes from suggestively shaped bulbous forms. They reflect back on the viewer the subjective of the gaze.

Installation view with works by Stephen Wolfe Powell, Photo by Tristan Osby

Installation view with works by Stephen Wolfe Powell, Photo by Tristan Osby

This anxiety becomes more acute in Powell’s two large curved plates of glass. These one-inch thick glass walls, beautifully backlit, stand on low pedestals and tower above the heads of most visitors and confront the viewer with complex, patterned forms that dip and flow through the depth of the glass. The complex tangles of colorful tubes seem to inhabit their own world within the glass, locked inside but on the verge of escaping outward. At first pleasing to look at, the forms grow more sinister the more they are considered. What could be flowers or simple geometric shapes might be mouths or other orifices attached to long squirming creatures or phallic organs. Like with Powell’s other works, there is a transformation in the experience of looking as the surface-level beauty deepens into more complicated and even unsettling territory.

In this exhibition, the viewer is confronted and must likewise confront what it means to look at, see, and appraise things and bodies. The power dynamics of expectations versus experience can be reconsidered and rerouted. In the end these works demand more than a passing a glance but a more critical and compassionate look.

Arts

Critical Mass II: A Short Video Summary

On Wednesday, March 28th, 2018, UnderMain held its second Critical Mass panel discussion on critical thinking in the arts, examining, in part, what role criticism plays as Kentucky artists and institutions engage more readily with a national and international dialogue. This year, our partners were The Great Meadows Foundation and KMAC Museum, with KMAC Curator Joey Yates moderating. We conducted Critical Mass I in 2016 in partnership with the University of Kentucky Art Museum. Critical Mass III will take place in Northern Kentucky in 2020.

Our featured panelist this year was New York-based curator Dan Cameron. Dan shared his extensive experience as a curator, writer, and critic as well as the inaugural Critic-in-Residence for the Great Meadows Foundation. During his March residency he made studio visits to a number of artists in the region as part of the foundation’s goal to help strengthen and support the critical growth of Kentucky artists’ work.

UnderMain promotes robust critical discourse in our region as it aids in the development of the individual artist and an awareness about Kentucky’s position within the larger art world.  Missions aligned as these three partners believe that exposure to criticism plays an essential part in an artist’s development and a community’s growth. Dan’s thoughts were well-balanced by the insights of our three other panelists, Emily Elizabeth Goodman, Tiffany Calvert, and Vinhay Keo.

For those of you who could not join us, we have composed a short video for you. Ten minutes or so of the juiciest stuff. Hope you enjoy. 

Video and Audio
© 2018 UnderMain, Inc.
ALL RIGHTS RESERVED
UnderMain, Inc. would like to acknowledge the following for helping us organize Critical Mass II and producing this short video:
Julien Robson, Director, Great Meadows Foundation
Joey Yates, Curator, KMAC Museum
John Williams, Principal Photographer / Producer SoundART Management™
HD PERFECT™ VIDEO & PHOTO
Eric Cade Schoenborn, Designer, Culture on Demand
Raleigh Dailey, Pianist/Composer
Savannah Wills, Chellgren scholar
KMAC Staff

PANELISTS:

Dan Cameron

Along with his ongoing curatorial projects, Cameron is a widely published art critic, with several hundred book, magazine and catalog essays to his credit. Along with teaching on the graduate faculties of Columbia University, NYU and the School of Visual Arts, Cameron is a frequent lecturer at museums and university campuses around the world. He currently serves on the Advisory Boards of the Madison Park Art Conservancy in NYC and the ARC/Athens Artist Residency in Greece. He has received numerous awards for his curatorial and scholarly work, most recently the 2010 Service to the Arts Award by the Anderson Ranch in Aspen, Colorado, and the 2015 Eminent Scholar award from the American Cultural Association/Popular Culture Association.

Emily Elizabeth Goodman

Emily Elizabeth Goodman is a Lexington, KY-based art historian, curator and critic and Assistant Professor of Art History at Transylvania University. She received her B.A. from McGill University and her MA and Ph.D. from the University of California, San Diego. Her doctoral research focused on the use of food culture in feminist art in New York and California during the era of the “Second Wave.” Her more recent scholarship and curatorial work — which includes the exhibition New Domesticity concurrently at the Morlan Gallery and the Parachute Factory — has focused on contemporary women artists’ examination of craft and domestic labor in the American South. She is the author of a forthcoming article in the journal Performance Research and writes for various art publications including Number magazine and Hyperallergic.

Tiffany Calvert

Tiffany Calvert is Assistant Professor of Painting at the Hite Art Institute at the University of Louisville. Tiffany’s work has been exhibited in group and solo exhibitions including Lawrimore Project in Seattle, Visual Arts Gallery at SVA New York, and Carl & Sloan Contemporary in Portland, OR.  She has been a recipient of a Geraldine R. Dodge Fellowship and residencies at the ArtOmi International Arts Center (NY) and Djerassi Resident Artists Program (CA). In 2010 she was awarded a Pollock-Krasner Foundation Grant.

Vinhay Keo

Vinhay Keo is originally from Cambodia, where he spent the first 10 years of his childhood. He earned his BFA from the Kentucky College of Art + Design at Spalding University. He received the Ellen Battell Stoeckel Fellowship to study at Yale Norfolk Summer School of Art, a Great Meadows Foundation recipient, participated in workshops such as Anderson Ranch Art Center and Anne West’s writing reflection. His work has been exhibited throughout galleries in Louisville, Kentucky with a recent solo exhibition at Moremen Moloney Contemporary Gallery.

Vinhay Keo, “Model Minority” from the Confront 2017 series shown at the Moremen Moloney Contemporary Gallery, Louisville, Kentucky

 

UnderMain, Inc. – a Kentucky 501(c)(3) – is an arts, cultural, and topical online publication that has a wide bandwidth. Cultural affairs is a big basket. Arts of all kinds, community issues, controversies, contests, events, people, and critical reviews. UM is serious and fun. We love playing in the digital sandbox and presenting vivid content to you, ad-free, as we offer support to some of Kentucky’s most talented writers, artists, and performers. (www.under-main.com)

 Great Meadows Foundation is a grant giving foundation, launched in 2016 by contemporary art collector and philanthropist Al Shands. Named for the home that Al and his late wife Mary created, the mission of Great Meadows Foundation is to critically strengthen and support visual art in Kentucky by empowering our community’s artists and other visual arts professionals to research, connect, and participate more actively in the broader contemporary art world. (www.greatmeadowsfoundation.org)

 KMAC Museum is a contemporary art museum located in the West Main District of downtown Louisville KY. Through exhibitions and educational programs the museum examines the multifaceted landscape of contemporary artistic production and material culture. (www.kmacmuseum.org)

  

 

 

 

 

Published by UnderMain, Inc., P.O. Box 575, Lexington, Kentucky 40388