#1 Under Control World Tour featured ten drawings and four paintings by the prolific Brooklyn based artist in Western Exhibitions’ intimate back gallery. The tight installation felt appropriate for Pellew’s populous works; as usual the drawings were teeming with congregations of favorite music and TV icons, the occasional friend in real life, and fantastic alternate identities…Read More
Byron Smith’s Cover Girls offers earnest and adoring tributes to glamorous movie, TV, and music industry icons. Smith’s drawings are typified by a hyperbolic allure, with an archetypal framework revealed collectively throughout the portrait series; this becomes most evident in simplified yet distinctive feminine features - elongated eyelashes radiating outward from almond-shaped lids, cherry red lacquered fingernails and lips, pronounced cupid’s bows, and wide, toothy grins....Read More
As a painter, thinker, and self-described “indigenous male earthling of the United States of America”, Wilmington-based artist Carl Bailey explores concepts with a sense of wonder.
Never driven by the consensus narrative, he is only concerned with primary sources -
artworks and their respective artists, their relationship to time and place, and discovering their universal humanity...
Cincinnati-based artist Curtis Davis blurs the boundaries between painting and sculpture, alternating between totemic mixed-media assemblages and large scale panels. Davis’ mysterious abstractions conjure various interpretations, yet curious elements ground the viewer...Read More
Helen Rae, one of the progressive art studio movement's rising stars, currently has recent work on view at White Columns in NYC, marking her first east coast solo exhibition. Rae is quickly emerging as an important figure in this movement; her work is striking, wildly popular, and at 78 years old, her practice is one of great dynamism and momentum.Read More
We recently traveled to MAKE, a Baltimore progressive art studio; Dontavious Woody is one of the artists we were most interested in meeting, struck by his compelling works on paper that convey an enduring fondness for humanity.Read More
Underlying Colors is a striking selection of drawings by one of Latitude Artist Community's most tenured artists, Beverly Baker, who has been supported to maintain a creative practice in their studio since its founding in 2001.Read More
Larry Pearsall is a Los Angeles-based artist who has created an extensive, focused body of work at ECF’s downtown studio for over a decade. Pearsall's paintings have a masterful quality, which can be difficult to access only because of their strangeness and ambiguity; the more his epic narrative is given weight or trusted, the more unsettling it becomes...Read More
Marlon Mullen’s second solo exhibition at JTT Gallery is an expansive collection of recent works by this San Francisco-based hero in the progressive art studio movement.Read More
We first encountered Sara Malpass’ work at NIAD in her solo exhibition What Are Words For, and have included her work in our latest curatorial project Storytellers, currently on view at LAND in Brooklyn. Selections by Malpass are featured in this exhibition in order to highlight the important perspective she offers in the discussion of narrative...Read More
San Francisco-based artist Evelyn Reyes has been diligently creating robust series of minimalist drawings at Creativity Explored for the past 15 years; over this time she has consistently maintained a presence in the contemporary outsider art discourse...Read More
Alan Constable has been creating and exhibiting work in various media for the past thirty years, including painting and drawing, but it is the extensive body of ceramic works he has formed over the past decade that has increasingly garnered attention and acclaim...Read More
Susan Te Kahurangi King’s current exhibition marks her second, highly anticipated solo show at Andrew Edlin, following the critically acclaimed debut of the New Zealand-based artist with the space in 2014, Drawings from Many Worlds. Known for her vibrant and frenetic biomorphic abstractions, Drawings 1975 - 1989 curated by Chris Byrne and Robert Heald features a lesser known series from her prolific and consistently impressive practice...Read More
We first encountered Miranda Delgai’s unforgettable work on our initial trip west, during our first studio visit outside of Nevada at Hozhoni in Flagstaff, Arizona. We were able to meet Delgai and see many of her weavings in person - work that’s technically astonishing and distinctly singular. These transporting works are defined by imagery that is compelling because of its minimal, idyllic, and genuine nature, while also conveying conceptual elements of materials rooted in tradition and storytelling that Delgai has a direct connection to through her heritage.
Delgai was born in Ganado, Arizona on a Navajo reservation in 1969, the daughter of a schoolteacher and medicine man. Delgai has maintained a prolific studio practice at Hozhoni since 1995, working in various media including ceramics, drawing, painting, and embroidery, but favors weaving. She uses Navajo-Churro wool woven on a traditional Navajo upright loom, reflecting the rich history of weaving in her community and family (who are well-known locally as traditional rug weavers).
Ella Earl, Miranda’s mother, elaborates on the presence of weaving in their immediate family history:
She has both maternal and paternal grandmothers who wove Navajo rugs as well as several aunts and cousins. Miranda’s maternal grandmother, Annabell Earl, specialized in several style of rugs double weave saddle blankets, and Wide Ruins and Klagetoh designs. She used wool from her own flock of sheep and prepared the wool from shearing the sheep, the many steps of making the wool to yarn, and collecting natural dyes that created the awesome natural colors of the yarn. Annabell and her sister at times would combine their talents on the exceptionally larger rugs. One comes to mind, a chief’s blanket at 8’ x 12’ which took them approximately six months. Miranda witnessed most of her grandmother’s activities as a child, and her grandmother never tired of explaining what she was doing. I’m sure as young as Miranda was at that time, she still remembers a lot. Her paternal grandmother, Helen Dalgai, is a weaver of rugs and she also makes sash belts which is done on a loom almost like a rug. Mrs. Dalgai specialized in the Ganado style of rugs, and she too prepared the wool from her own sheep from start to finish.
Navajo weavings are executed from bottom up on an upright loom that has no moving parts; the warp is one continuous length of yarn, that does not extend beyond the weaving as fringe. Unlike traditional Navajo weaving designs which are primarily based in pattern and fourfold symmetry, her work is more akin to the pictorial Navajo weavings of Mary Kee or the Begay family. Delgai constructs a highly personal narrative by depicting imagery from experience and memory, detailing her daily activities, interests, or recollections of family life on the reservation in Ganado; present are birds, domestic landscapes, occasional figures, and sheep. The recurrence of sheep in her work is significant, considering their prominence in the Diné (Navajo) culture:
Diné philosophy, spirituality, and sheep are intertwined like wool in the strongest weaving. Sheep symbolize the Good Life, living in harmony and balance on the land. Before they acquired domesticated sheep on this continent, Diné held the Idea of Sheep in their collective memory for thousands of years...In the high deserts and wooded mountains of Diné Bikéyah (Navajo Land), Diné pastoralists developed the Navajo-Churro breed, which assumed a central role in the People’s psychology, creativity, and religious life. With songs, prayers, and techniques taught to them by Spider Woman and looms first built by Spider Man [using sky, earth, sun rays, rock crystal, and sheet lightning], traditional Navajo weaving evolved to utilize the special qualities of the glossy Navajo-Churro wool. source
Delgai’s work proclaims not only a technical prowess with this medium, but also the joy of making. Focused and committed in her practice, she meticulously works on one piece with few interruptions until it reaches completion (usually spending 8 hours a day, 5 days a week in the studio). The process of weaving is an inherently repetitive and intensive endeavor; inevitably, Delgai’s pieces evoke the virtues of labor, time, and dedication to hand craftsmanship.
Anni Albers articulates fundamental concepts and methods surrounding this medium in On Weaving:
The horizontal-vertical intersecting of these two separate systems of thread is of great consequence for the formative side of weaving. The more clearly this original formation is preserved or stressed in the design, the stronger the weaving will be in those characteristics that set it apart from other techniques. Just as a sculpture of stone that contents itself to live within the limits of its stone nature is superior in formal quality to one that transgresses these limits, so also a weaving that exhibits the origin of its rectangular thread-interlacing will be better than one which conceals its structure and tries, for instance, to resemble a painting. Acceptance of limitations, as a framework rather than a hindrance, is always proof of a productive mind.
There is endless potential for experimentation and design within the limitations of the grid, so weaving requires much planning in order to achieve the desired visual outcome. Delgai creates a preliminary drawing in color, which she places behind her loom as a visual aid, but isn’t rigid in its translation; she has an improvisational approach to imagery and color choices while working, indicating an incredibly intuitive and skillful relationship with this slow and systematic process. Delgai has a natural ability to balance both the complex structure and flexibility inherent in weaving, successfully allowing the material to “just be” within this system, indelibly marking the object as hand-made.
The viewer is drawn in to closely examine the surface of the weave and rewarded by Delgai’s intricate work. Each work openly exhibits the origin of its making; the weft often wavers and is quite exaggerated, causing imagery to distort and shift perspective (at times verging on abstraction). Glitches and striations emerge in deceptively simple compositions, highlighting the identifiers of her inventive, idiosyncratic vision - a sheep with five legs, birds perched on a corn stalk in her unconventional re-interpretation of the Tree of Life design, or the placement of a horizon line that is both an elegant expression of the vertical weaving process and the southwest desert landscape in which she lives.
Problematically, most research of Native American traditional arts has been dominated by an anthropological discourse rather than an art historical one, without an emphasis on technical or artistic excellence. As a result, much of the work has been presented at encyclopedic museums in a manner that perpetuates a static history and colonialist point of view. Only recently have some installations started to reflect a more accurate, contemporary context. Much like Jeffrey Gibson or Wendy Red Star, Delgai is an artist whose work is grounded in identity, place, an authentic current experience, and liberated processes - a definitively contemporary perspective that transgresses the expectations of a Native American aesthetic and the traditional.
Daniel Green's process is slow and intimate; quietly hunched over his works in the bustling studio, he draws and writes at a measured pace. These detailed works are an uninhibited visual index of Green’s hand; when read carefully, they become jarring and curious, slowly leading the viewer to meaning amid the initial incoherence. Green’s text is poetic and complex - language and thought translated densely from memory in ink, sharpie, and colored pencil on robust panels of wood. Figures and their embellishments are drawn without a hierarchy in terms of space occupied on the surface; they are at times elaborate and at other times profoundly simple. The iconic figures’ facial expressions (Jesus, Abraham Lincoln, Tina Turner, video game characters, etc.) are generally flat with proportions stretching and distorting subject to Green’s intention.
Ultimately, these drawings compel the viewer to internalize and decipher Green’s ongoing, non-linear narrative. His drawings call to mind Deb Sokolow’s humorous, text-driven work, but are less diagrammatic and concerned with the viewer. In an interview with Bad at Sports’ Richard Holland, Sokolow elaborates on her process:
I’ve been reading Thomas Pynchon and Joseph Heller lately and thinking about how in their narratives, certain characters and organizations and locations are continuously mentioned in at least the full first half of the book (in Pynchon’s case, it’s hundreds of pages) without there being a full understanding or context given to these elements until much later in the story. And by that later point, everything seems to fall into place and with a feeling of epic-ness. It’s like that television drama everyone you know has watched, and they tell you snippets about it but you don’t really understand what it is they’re talking about, but by the time you finally watch it, everything about it feels familiar but also epic. (Bad At Sports)
Much like Sokolow, Green engages in making work that begins with the rigorous practice of archiving information culled from his surroundings and interests, which then develops into intriguing, fictitious digressions. Dates and times, tv schedules, athletes, historical figures, and various pop culture references flow through networks of association - “KURT RUSSEL GRAHAM RUSSEL RUSSEL CROWE RUSSEL HITCHCOCK AIR SUPPLY ALL OUT OF LOVE…” Although the listing within his work sometimes gives the impression of being intuitive streams of consciousness, most of it proves to be very structured and complex within Green’s system. Rather than expression or even communication, the priority seems to be the collection of information or organization of ideas; the physical encoding of incorporeal information as marks on a surface is a method for making it tangible, possessable, and manageable.
From the perspective that Green invents, there’s an endless number of time sequences that haven’t been considered before. A grid of days and times (as in Pure Russia) imagines time passing in increments of one day and several minutes, then returns to the beginning of the series, stepping forward one hour, and proceeding again just as before. It could be cryptic if you choose to imagine these times having a relationship to one another, or it could instead be an original rhythm whose tempo spans days, so that it can only be understood conceptually as an ordered structure mapped through time - the significance of the pattern superseding that of specific moments.
By blurring the distinction between the articulation of ideas through text and the development of mark-making, Green’s highly original objects become unexpectedly minimal and material, yet simultaneously personal and expressive.
Daniel Green’s work will be included in Mapping Fictions, an upcoming group exhibition opening July 9th at The Good Luck Gallery in LA, curated by Disparate Minds writers Andreana Donahue and Tim Ortiz. Green has exhibited previously in Days of Our Lives at Creativity Explored (2015), Create, a traveling exhibition curated by Lawrence Rinder and Matthew Higgs that originated at University of California Berkeley Art Museum and Pacific Film Archive (2013), Exhibition #4 at The Museum of Everything in London (2011), This Will Never Work at Southern Exposure in San Francisco, and Faces at Jack Fischer Gallery in San Francisco.
“The painting is not on a surface, but on a plane which is imagined. It moves in a mind. It is not there physically at all. It is an illusion, a piece of magic, so what you see is not what you see … I think that the idea of the pleasure of the eye is not merely limited, it isn’t even possible. Everything means something. Anything in love or in art, any mark you make has meaning and the only question is ‘what kind of meaning?” - Philip Guston
Prolific visionary Knicoma “Intent” Frederick has lived the intensely dedicated life of an artist for whom painting is more than painting - it’s a way to access something deeper than merely tangible or social ends. Frederick’s work engages the practice of image design and creation with a mystical or prophetic intent, relying on and striving to access and utilize the magic inherent in the process of painting.
Sometimes remarkably akin to the work of William Scott, Frederick’s work possesses an abundance of idealism, realized as utopian visions of the future - proclamations from Glory News, superhero first responders defeating armies of demons, or a “love and justice” rocket ship flying overhead. Where Scott has a steadfast tone of praise and celebration, however, Frederick’s narrative works also include darker, stranger, sometimes ominous themes that afford them a sense of gravity, conflict, and romance.
Works such as Untitled (Couple Painting/Beach Scene) live in a space characterized by a more cryptic sort of mysticism, in which painting becomes not only the method that Frederick employs, but also becomes incorporated into the content of the image - overtly, when paintings are included in the image, and less explicitly when “painting” as an archetype is present in the work via the presence of painting tropes (such as a dramatic seascape or elements of traditional still life). These tendencies also present themselves in the work of Los Angeles based painter John Seal.
In response to our inquiry about Frederick and the concept of paintings of paintings Seal remarked:
"The magic, really, is in the disconnect/misconnect. It is in the way the subject and its material delivery interface/intermesh with the viewer's life experiences--it is the surprise of finding anything in common, the surprise of seeing one's self, altered and new, reflected in the painting which in turn becomes new in the viewer's eyes. The magic is in this dual rebirth of viewer (subject) and painting (object). The magic is the painting's ability to make this dual rebirth visible. Painting paintings of paintings is, to me, a way to lead people into the mechanics of image, and to invite the viewer to examine their own relationship to looking: if a picture can be captured by a picture via the means (language) of painting, what can it do to the rest of the world?"
Knicoma Frederick harnesses these mechanics to not only compel the viewer to reflect on the capacity of painting, but to also assert the presence of his message in the world he envisions. The "dual rebirth" that painting facilitates is, for Frederick, a pathway into this realm that his work manifests, and painting is explicitly the magic by which this manifestation takes place.
In the course of discussing his WPIZ series of artist books, and a fictional video game called ArtFighter (which exists within WPIZ) Frederick articulates his manipulation of this mystical function of painting:
"People have heard of games like ‘Street Fighter’ and ‘Mortal Combat’ and ‘Tekken’ for PlayStation and XBox and all of those different types of game systems…But ‘Art Fighter…is fighting with artwork. You’re taking artwork and you’re fighting the situation with it. You’re taking a picture that represents what you want to have happen, done by the storyline in each book. You’re taking a picture, and you’re destroying the negative with it…I have an obligation to make the WPIZ so that the books are used for overcoming the evil that’s in the people’s way." (source)
Shortly before the establishment of the Creative Vision Factory (where Frederick maintains his studio practice), Director Michael Kalmbach encountered Frederick attempting to get permission at a drop-in mental health center to use the copy machine (unsuccessfully), presumably for the distribution of a handwritten series of newspapers (in the neighborhood of six hundred pages). Kalmbach cites this event as instrumental in the development of CVF (informing its goals, design, and function), not only due to the magnitude of this endeavor, demonstrating the need for and potential value of a studio of this kind, but also that the content of these newspapers provided important insight about both Frederick's personal experience and the mental health system in general.
Frederick’s works are conceptualized as series of books for which each work represents a specific page. Over the four years that he has been with CVF, he has published more than 25 artist books, each comprised of 125 - 150 works; prior to the publishing a book, the works can not be sold individually. Frederick has an extremely productive creative practice; Kalmbach estimates that he creates roughly 1000 works per year.
Knicoma Frederick is originally from Brooklyn, New York, but is currently based in Wilmington, Delaware. Recent exhibitions include All Different Colors and Outsiderism at Fleisher/Ollman in Philadelphia and previously at numerous venues in Wilmington, Delaware. He has work in the permanent collection of the Delaware Art Museum and is the recipient of an Emerging Individual Artist Fellowship from the Delaware Division of the Arts.
Cooper’s oeuvre is a ongoing narrative featuring Cincinnati, imparted with adoration and idealism. Drawings that are tenaciously committed to archiving the city’s developing reality in bic ballpoint pen, Cooper documents the destruction of old buildings and construction of new ones, while modifying details to reflect the time of year (often after they've been hung in an exhibition space). But they are also richly populated with celebratory, idealistic imagery - flags flying on rooftops, hot air balloons traversing the sky above the river, “Do not be afraid, be a precious friend! Zmile, you’re in Zinzinnati Ohio USA 2011”.
Cooper’s works are often characterized as maps, which isn’t an entirely accurate categorization. Visionaries + Voices’ Krista Gregory points out:
I've come to learn that Courttney has been drawing "aerial views" of Cincinnati since he was a small child, first using an etch-a-sketch. His mark-making certainly reflects having this type of information/tool...I see the work that Courttney creates more in the vein of landscape, or townscape; as they are romantic in their visceral love for this place...I think that this work being categorized as ‘maps’ is misleading and couches them in something that is more related to Courttney's disability rather than to what it is that he is actually expressing and creating. They are not accurate. They are not drawn completely from memory. I've witnessed people hold on to wanting to think these things because it makes the work accessible or novel in some way. I sort of think that it is a reductive way to see them
The desire to see Cooper’s works as maps may be the consequence of trying to categorize autistic thinking - relegating autistic artists as spectacles of savant-ism. Courttney Cooper, however, is not comparable to Stephen Wiltshire, for example; his drawings are not an accurate configuration of streets as a road map indicates, nor are they a repetitious anonymous depiction of a city in an illustrative way. They're indeed informed by an intimate experience with his city - an astounding wealth of information accumulating across increasingly massive surfaces (created by gluing together scrap paper that Cooper gathers while working at Kroger). But this isn't the subject of the work, it's only the formal foundation that serves as a vehicle for Cooper’s voice. Cooper’s drawings are a complex and authentic network of specific places and structures; his streets are composed of details from memory or observation, cataloging expressions of particular perceptions in particular moments. The relationship of these moments to each other in space is approximated, as in memory - all of which culminates in a dizzying realm of overlapping information that becomes a living record, adorned generously with nostalgic, commemorative expressions of community and identity.
Zinzinnati Ohio USA: The Maps of Courttney Cooper curated by Matt Arient, is a selection of Cooper's drawings from 2005 - 2015, currently on view at Intuit through May 29th. Cooper is represented by Western Exhibitions in Chicago, where he has an upcoming solo exhibition November 12 - December 31, 2016. Cooper has maintained a studio practice at Visionaries + Voices in Cincinnati since 2004; he has exhibited extensively in the greater Cincinnati area and has work in the Cincinnati Art Museum collection. Selected exhibitions include the Wynn Newhouse Exhibition at Palitz Gallery, Syracuse University (as a 2015 Wynn Newhouse Award recipient), Cincinnati Everyday at the Cincinnati Art Museum, Maps + Legends: The Art of Robert Bolubasz and Courttney Cooper at Visonaries + Voices, Studio Visions at the Kentucky Museum of Art, Cincinnati USA: Before Meets After at PAC Gallery, and Indirect Observation at Western Exhibitions.
Sylvia Fragoso’s methodically hand-built sculptures are crafted with a deceptive indelicacy and thick layering of glazes - small monuments in which form is defined by seeking rather than devising. Much like the ceramic work of Sterling Ruby or Julia Haft Candell, Fragoso reaches a compromise between concept and process. Where opportunities arise, she inserts symbolism that declares an identity for the work; subjects common in her drawings such as church and family are translated into physical form in a manner analogous to the way that her method of building with clusters of shapes on paper translates to her process of building with clay. References to function or representation are ultimately denied in favor of material manipulation and aesthetic - a revelation of the joy of making.
In a recent Art In America article The Happy Medium, Leah Ollman discusses the re-emergence of ceramics in the contemporary art discourse (especially in L.A.):
A new shift, roughly a decade old, has been catalyzed not by a single or even a few strong personalities, but by a broader redefinition and realignment of creative practice. Increasingly post-disciplinary, artists roam freely among mediums, unencumbered by traditional boundaries and hierarchical divisions. Many show a renewed interest in work of the hand, which they see as an antidote to theory- and concept-driven art. A messy physicality is often their (defiant) answer to the disembodied digital; theirs is a rising constituency for authenticity which advocates the material over the virtual.
This shift has extended to progressive art studios as well; in addition to Fragoso, other self-taught artists creating exceptional ceramic work are Mirov Menefee of The Canvas in Juneau, Alan Constable and Chris Mason of Arts Project Australia in Victoria, Cameron Morgan of Project Ability in Glasgow, Tanisha Warren at Creative Growth in Oakland, and Billy White, also of NIAD.
Fragoso (b. 1962) has exhibited recently in Hold Onto Your Structure : The Ceramics of Sylvia Fragoso at NIAD Art Center (2016), Telling It Slant organized by Courtney Eldridge at the Richmond Art Center (2015), Visions et Créations Dissidents at Musée de la Création Franche in Bégles, France (2014), ArtPad SF at the Phoenix Hotel in San Francisco (2013), and extensively in group exhibitions at NIAD, where she has maintained studio practice for many years.
Deveron Richard maintains a creative practice at one of many ECF art centers in the LA area (previously discussed by Disparate Minds in terms of their relationship to DAC Gallery). His inaugural solo show is currently on view in LA at the Good Luck Gallery through May 21st. From the Good Luck Gallery:
“An idiosyncratic iconography of visionary space travel and anthropomorphic sexuality arrives via the South Bay of Los Angeles through the singularly fertile imagination of Deveron Richard. Winged horses in brassieres and high heels glide peacefully around the cloud-enshrouded towers of a futuristic city, polar bears in lipstick and slit dresses prance through a fluorescent arctic landscape, and provocatively-attired unicorns face off on a hallucinatory geometric color grid. These hybrid creatures of exaggerated femininity exude a quirky eroticism. Rendered in watercolor with a distinctively saturated palette, inventive draftsmanship and hypnotic backdrops of complex rhythmic patterning. Other works depict interplanetary battles with rockets hurtling through galaxies and deadly beams shooting into space.”
From the Disparate Minds collection: “For all of my friends and one basketball player” is a zine containing 21 poems interpreted from the text works of Marvin Viloria Ariza Asino. It’s sensibility can be described using Marvin’s own words “rhythm; kind, beautiful, friendly.” Asino writes in a matter-of-fact manner (siding in a space where humor and simple, profound truths meet), so the force of its beauty comes entirely by surprise with a wonderful sense of mystery.
This anthology was given in the course of a conversation with one of Marvin’s many friends, Robert Grey, at Full Life, in Portland Oregon last year. An updated overview of Full Life, a very different kind of program, will be posted soon.