Our latest curatorial endeavor, Slow Read at Circle Contemporary in Chicago, is a diverse selection of recent works that represent ongoing pursuits of material manipulation and process, while remaining tethered to narrative, memory, or the spiritual.Read More
Coming to America at Shrine marks Billy White’s well-deserved inaugural solo exhibition in New York, offering an exuberant selection of recent work; the paintings and sculptures currently on view dynamically illustrate White’s definitive creative focus and sustained capacity for fearless reinvention. ..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
Throughout 2016, a shift in tone and approach to presenting and discussing artists who exist outside of the traditional or mainstream (that has been crystallizing over the past few years) has continued in force. An unprecedented range of artists working in progressive art studios are being sought out by forward-thinking curators and featured in prominent galleries, including several exciting solo exhibitions - Marlon Mullen’s first solo shows at JTT and Adams and Ollman, Zinzinnati Ohio USA: The Maps of Courttney Cooper at Intuit in Chicago, and Helen Rae’s incredible second solo show at The Good Luck Gallery in LA. This trend continues and accelerates with an impressive array of current and upcoming shows that shouldn't be missed during the fall exhibition season - a great triumph for artists with developmental disabilities working in progressive art studios and other unconventional environments.
Billy White, Figures at South Willard in LA, September 2 - 16
Figures, organized by Celia Lesh, features a selection of narrative ceramic sculptures and drawings from the mysterious and magical oeuvre of NIAD’s Billy White. From Lesh’s curator statement:
Billy recurrently creates clay busts that begin as Vincent Van Gogh and morph into several different characters while retaining qualities of each previous personality – a hat, a mouth closed around a cigar, a mustache, a particularly muscular bicep. Vincent Van Gogh becomes Peter Sellers who becomes Redd Foxx who becomes Billy himself. Little Richard and Richard Pryor are married into a single body whose portrait is titled “Little Richard Pryor”. Sculptures of his father wear a hat that is WC Field’s, Yosemite Sam’s, and/or Jed Clampett’s. Identities are both specific and fluid, and exist in a sort of pantheon where the historic, celebrated, anonymous, and personal share a landscape.
Outside at KARMA in Amagansett, NY, September 3 - September 25
Curated by White Columns Director Matthew Higgs, the extensive roster of great artists in Outside includes Joseph Yoakum, James Castle, Helen Rae of First Street Gallery, Marlon Mullen and Danny Thach of NIAD, William Scott, Aurie Ramirez, William Tyler, and John Hiltunen of Creative Growth, among many other contemporary artists. Participating artists (both conventionally trained and not), represent a wide spectrum of processes and media, while all investigate notions of landscape or sense of place.
Alessandra Michelangelo at Shrine in NYC, September 7 - October 9th
The first exhibition of Alessandra Michelangelo’s work in the United States (curated by Chris Byrne), is currently on view at Shrine, New York’s newest space specializing in both self-taught and contemporary art. Michelangelo’s pastel and colored pencil drawings employ contrasts in hue rather than value, which gives these abstracted figurative and architectural works a visual subtlety that softens the tone of their expressive intensity. Previous to her death in 2009, Michelangelo maintained a studio practice at Blu Cammello, an Italian progressive art studio for artists living with mental illness.
The Eloquent Place: New Works by Harald Stoffers and Josef Hofer, Cavin-Morris Gallery in NYC, September 8 - October 8th.
Featuring Harald Stoffers’ abstracted text-based drawings and Josef Hofer’s nude self-portraits, The Eloquent Place is poised to be a raw index of unspeakable vulnerability. Stoffers engages concepts similar to Dan Miller’s, but with a much more romantic tone of personal narrative; his drawings manifest as daily hand-written letters to his mother, which document his activities (both mundane and meaningful) in great detail. These two artists, well-established in the outsider art discourse, both create work in proto-progressive art studio settings in Austria and Germany.
Dan Miller, Click at Diane Rosenstein in LA, September 10 - October 16
A solo exhibition of works on paper by Creative Growth’s Dan Miller, Click includes Miller’s well-known layered text drawings and paintings, as well as selections from a lesser known body of work executed by typewriter, which are essential in understanding the true nature of Miller’s work and process. In these typed works, Miller’s hand, color, and space are reduced, revealing his message and the rhythm of his voice, which are typically obscured by his repetitive layering process while painting or drawing. This is Miller's first exhibition at Diane Rosenstein and in Los Angeles.
Dale Jackson and Danny Thach at White Columns in NYC, September 13 - October 22
Visionaries and Voices’ Dale Jackson and NIAD’s Danny Thach both have solo shows currently on view at White Columns. These exhibitions feature a large installation of Jackson’s poetic, text-based work and a collection of Thach’s re-interpretations of Keith Haring works, which recreate the images faithfully, but are characterized by more personal and exposed paint handling. Matthew Higgs, one of the earliest champions of artists working in progressive art studios (co-curator of the seminal Create exhibition in 2012 with Lawrence Rinder and early supporter of Creative Growth’s William Scott) has continued to support Bay Area studios while also seeking out artists at Gateway Arts, Visionaries and Voices, and other small studios in the Northeast.
Charles Steffen at The Good Luck Gallery in LA, September 3 - October 29
This marks the first exhibition of Charles Steffen’s work in Los Angeles, in cooperation with Andrew Edlin Gallery. Steffen’s graphite and colored pencil drawings on found paper “resemble pages from an idiosyncratic self-referential field guide with sunflowers, crucifixions and figures complemented by scrawled diaristic ruminations. The figures are often transparent, as if their nerve cells and fibers were on display, and surrounded by aureoles of gray light; bodies and flowers often merge into each other.” Steffen originally began a prolific drawing practice during a fifteen year stay at the Elgin State Hospital in Illinois, which continued until his death in 1995.
Susan Te Kahurangi King: Drawings 1975 - 1989 at Andrew Edlin Gallery in NYC, September 16 - October 30
The gallery’s second exhibition of New Zealand-based artist Susan Te Kahurangi King, curated by Chris Byrne and Robert Heald, is highly anticipated and runs concurrently with her first solo museum show at the ICA Miami. Byrne’s 2014 exhibition of King's work, Drawings from Many Worlds, was widely revered as one of the best exhibitions that year. Known for her colorful, frenetic abstractions of invented characters and appropriated Disney icons that predate Arturo Herrera, Drawings 1975-1989 features a lesser known, primarily monochromatic series of pattern-based drawings in graphite. While more minimal and understated than King's previous work, they remain highly original and compelling.
Courttney Cooper at Western Exhibitions in Chicago, November 12 - December 31
Visionaries and Voices’ Courttney Cooper has a well-deserved first solo exhibition with Western Exhibitions, one of Chicago’s best contemporary art spaces. Cooper's complex bic pen drawings document his intimate experience with Cincinnati, accumulating across increasingly massive surfaces (created by gluing together scrap paper that he gathers while working at Kroger). Cooper creates an authentic network of specific places and structures; his streets are intensely composed of details from memory or observation, cataloging expressions of particular moments or time of year. 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.
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.
The process of evaluating any artwork includes some interpretation of how it functions - mechanisms such as the way gestural brushstrokes communicate movement by indexing the physical action of their application, or the way that arrangements of representational imagery can imply relationships between elements that generate narrative.
The mechanism by which Billy White’s paintings elicit emotion is sharply specific, yet escapes analysis, remaining a wonderful mystery. A loose, fearless application of paint renders forms with a striking physicality and sense of humor. There’s an uncanny affinity with the work of figurative painters Todd Bienvenu and Katherine Bradford (who both have an aesthetic undoubtedly informed by the work of self-taught artists). The impact of White’s work cuts through a vivid alternate world that operates on White’s terms - a highly original set of priorities, passing over image and rendering to achieve an expression of mood and vitality, as though excavating the underlying stories that were already present; impatient mark-making and barely legible imagery find time and space for redolent storytelling and detail. While he typically focuses on painting and drawing, White occasionally creates small ceramic sculptures that are rich in character and evocative of Allison Schulnik’s warped clay figures - slumped postures, elongated, rubbery appendages, intermingling glazes, and sunken, cartoonish expressions.
White’s work is largely influenced by his avid interest in pop culture, often depicting actual and imagined events in the lives of various celebrities or fictional characters, from Dr Dre to Hulk Hogan to Superman. NIAD provides some insight into White’s process: “He might start off painting Bill Cosby, but quickly change his mind by lunch. When that happens, he simply works right on top and doesn’t erase what came before. The new work becomes an extension of the old. By the end of the day this could happen several times and what’s often left is a latticework of figures and stories with interchangeable meanings.”
Billy White (b. 1962) has exhibited previously in Rollergate at the Seattle Art Fair, Telling It Slant organized by Courtney Eldridge at the Richmond Art Center, Undercover Geniuses organized by Jan Moore at the Petaluma Art Center, ArtPad San Francisco at the Phoenix Hotel, and extensively at NIAD Art Center, where he has maintained a studio practice since 1994. He has an upcoming solo exhibition at San Francisco’s Jack Fischer Gallery later this year.
Throughout 2015, Disparate Minds writers Tim Ortiz and Andreana Donahue worked directly with The Canvas, a progressive art studio in Juneau, Alaska as Artists-In-Residence, guest facilitators, and curators of the group exhibition NEW VOICES.
The Canvas is a relatively young studio and when we initially joined them was beginning to transition from a didactic approach to art-making to one of professional development. We were given the opportunity work directly with artists in the studio alongside facilitators to share ideas and knowledge about further developing the emerging creative culture and cultivating an environment conducive to the independent discovery of art-making - guiding artists to invent and maintain studio practices of their own devising. We focused on post hoc guidance through the introduction of criticism in one-on-one discussion and group critique, challenging artists to explore the potential investment of time and care available in each of their processes.
The result of this paradigm shift has been a wealth of inspired new ideas and creative voices. NEW VOICES represents a selection of current work in various media by this studio’s most promising and successful artists, including many that we’ve discussed in essays for Disparate Minds over the past year: the nuanced minimalism of Grace Coenraad, Luis Hernandez’s intuitive yet complex abstractions, the enigmatic text-based drawings of Jeff Larabee, and Susy Martin’s bold, layered symbolism. This exhibition establishes a dialogue between artists and artwork, accentuating similar investigations of visual language and innate tendencies - repetitive processes or subject matter choices, surface manipulation, emblematic mark-making, or heightened attention to detail.
Other highlights from the exhibition include:
Mark Davis’ first major work on paper - a complex, pattern-based drawing in colored pencil, created using an intuitive set of rules, built methodically from bottom to top; it’s a spectacle of fluorescent color and rich detail, paradoxically both a simple, flat pattern and organic rendering of form reminiscent of a woven textile.
Exhibited alongside Jeff Larabee is his good friend and fellow explorer of text aesthetics, Terral Kahklen (TK). TK began coming to the studio late in the year, but immediately began making compelling work. He’s an example of an experience with profound intellectual disability that’s persistently misunderstood and unseen, a person whose way of being demonstrates that being disparate from the neurotypical (far from being a mere impairment in any linear sense), can become a disposition in which making connections between his inner and exterior world (social engagement in a fundamental sense) is a series of creative problems. In effect, his entire engagement with the neurotypical world becomes a creative and aesthetically thoughtful endeavor. Throughout his life, he has elected to be silent and communicate almost exclusively through minimal sign language, allowing himself to be understood on his own terms. For TK, creating elegant, minimalist drawings couldn’t be more natural. His process is exceptionally thoughtful, carefully considering each mark for long periods of time despite consistently choosing to repeat the forms T and K in an exclusively grayscale palette; each of his early works was a singular exploration, but quickly accumulated as a dynamic body of work reflecting a clear perspective.
Melanie Olsen is an eccentric artist who has spent her life surrounded by the majestic, monumental terrains of California and Alaska. In temperament, Melanie is a classic landscape painter, inspired by the beauty and romance of the sublime landscape, and strives to respond to it faithfully in her work. Her drawing process is a collection of brief, intensely focused moments in which she traces long, complicated contour lines, gritting her teeth and drawing almost blindly as her eyes intently follow the jagged mountain edges in her source imagery. In the interest of objectivity, she relies methodically on a range of different grades of graphite to control value in her shading, evaluating tones against a set of graphite swatches. Her works are a highly critical endeavor, not intended to be expressive or personal, but idealistic and true.
In addition to being a fantastic exhibition, NEW VOICES is an achievement of one of the most revolutionary and exciting aspects of progressive art studios: their power to support contemporary, genuine work for the benefit of both local and global art communities. In Juneau, Alaska, the local art community (with a few exceptions) produces and exhibits safe. accessible works - neo-impressionist landscapes typical of rural communities and kitschy illustrative works reflecting a narrow set of themes highly driven by the tastes of tourists, while the beautiful traditional arts of Native Alaskans often remain marginalized. In this cultural landscape, this exhibition is an unprecedented emergence of relevant and compelling contemporary concepts and studio processes.