Fall Semester




Lamberton Conservatory, Highland Park
Rochester, NY
September 8, 2018


The real thing takes your breath away... and this is just one visit to a local park to do some research for my class this fall semester.   I take my students to the conservatory to work on their art, and maybe paint a portrait of this hibiscus.  In my studio I am preparing new art myself - for exhibitions.. and just to see what happens.  I can invent forms, but nothing so spectacular as this flower above.



My monotype: "Tropical Radiance"


One thing I have found out, working with imagery derived from mathematical functions - there really is some strong similarity to the forms found in nature and those that are derived or rendered from a numerical matrix ( just look at the color burst in the center of the flower).

Before I go down to Brooklyn this weekend to drop off my prints for a show at SITE:BROOKLYN in Park Slope, I check out some shows in our area, including one collection of paintings by John Ruggles at The Geisel Gallery in downtown Rochester.  




I know John from R.I.T. and welcomed this opportunity to see what he has been doing lately.  It is also interesting for me because I have been reading a book by the author Leonard Shlain titled:  The Alphabet Versus The Goddess - this non fiction book published in 1998 recounts a history of the written word and how it is often in conflict with imagery.  John E. Ruggles takes letters from the Hebrew alphabet and illuminates them in his paintings, often taking the viewer on a mysterious journey. 


Pey: Mouth of Fire
by John E. Ruggles

An interesting thing about the book by Leonard Shlain is that he goes back through the history of the written language and spends some time to explain the origins of the letters that are the subjects of John Ruggles paintings.  Of course you don't have to read the book before you go and see this show, but it is a remarkable experience to see what can be done to create a painting based on calligraphic strokes and the ornamentation that is the result of a painterly manifestation of literacy.



John E. Ruggles 
Letters on the Wind

One letter per canvas is the starting point in this show, and John provides a little cheat sheet if you don't know the names of the letters in the Hebrew alphabet.  John writes an artist statement that begins with his orientation:  "I work in the space that exists between ideas, or objects, and the paths we forge through them".  That is the job of the visual artist as he sees it - walking through the doorway to a new set of possibilities using his paints and brushes to shed some light on this new path.

The next day I attended an opening for the artist Nate Hodge at Axom Gallery at 176 Anderson Avenue in Rochester.  His show is called: The Blues, and has examples of his latest paintings and drawings on view through October 13th, 2018.  When I think of the blues - I think of music, but when I see the artwork of Nate Hodge - I may reconsider that.  His show does have blue as a major color factor, but  I would say that this artist is in love with a kind of hand made architecture.

The installation brings his drawings to life and gives the visitor a lift.  Take a look first at the wall of intimate drawings and paintings - there is an obsession with a fine line that is  multiplied many times over as it builds upon itself.  



Nate Hodge working drawings


Nate Hodge: installation
at
AXOM GALLERY

We were prepared for this show after seeing paintings by Nate Hodge in the Hall of The Memorial Art Gallery, and also on view outdoors  in a mural he painted in 2015 for Wall/Therapy.  Stopping to chat with Nate Hodge we asked how long it took to paint the mural down the street - and we were amazed to learn that it took him ( alone ) a week to do the job.  His is a form of improvisation, paint a portion, going back to fix something, make it better and continue on, so here my thinking about music returns, because his description is very much what I feel when I listen to modern jazz - so maybe it is the return of the blues....



Nate Hodge is industrious....


Giving form to feeling is the motivation here.  The need to express oneself is important, and maybe it is carried through your life if you are an artist of some sort, and have the skills and the staying power to keep at it.  New directions are being forged, new paths are being built upon in visual arts that may not be so easy to grasp at first,  but keep trying, because it is worth the effort .











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Art Workers


Rick Muto and Roz Goldman
Axom Gallery, Rochester, New York
celebrates Cathal O'Toole

This past Saturday at the Axom Gallery, a group of folks gathered to hear from Roz Goldman and Rick Muto, Michael Thomas and Katherine Baca-Bielinis about the life and art of Cathal O'Toole ( 1904-1991 ).

On a beautiful afternoon I began to learn a lot more about the artist whose work I had admired in a fine show of paintings and prints.  The opportunity to hear from these people who had looked so  closely at the works on view in the gallery was really refreshing.  There were some surprises as Rick Muto brought out some of Cathal O'Toole's artworks that had not made it onto the walls of this particular show, including a portrait of the actress Helen Hayes ( see below ).



Cathay O'Toole's portrait of Helen Hayes

During the discussion at the gallery we learned that the artist had exhibited his paintings at The Metropolitan Museum of Art in New York, and that sales of the art from the Axom Gallery would go to help support Cathal O'Toole's wife who is presently under care in a nursing home.  I couldn't help but think of all of the artwork this artist must have made during a lifetime, and we are only seeing what was left of his estate in this show of a very high quality.

Later in the week I spent some time watching a wonderful video  on TV about the life and work of Eva Hesse, an artist whose work I followed in New York City when I would go around to galleries as a teenager.  ART 21 is the series being  shown on PBS and this week they will broadcast a special about the art and life of Elizabeth Murray, which I am looking forward to seeing.



Elizabeth Murray visits R.I.T.

Almost fifteen years ago, I invited Elizabeth Murray to come and speak to my students in the painting studio at Rochester Institute of Technology.  She later gave a public talk about her art at The Memorial Art Gallery that was well attended.  It was only a few years after that, when Elizabeth passed away ( too soon ).  Luckily she lived long enough to see her retrospective exhibition held at The Museum Of Modern Art.  But when she was here to visit my students at R.I.T. she gave their work her full attention.


Elizabeth Murray will be featured in a video presentation
from ART 21
check your local listings

While Elizabeth Murray   ( 1940-2007 ) was alive and exhibiting often at Paula Cooper Gallery, I would go and see what she was doing, and it almost always gave me something to think about, and enjoy.  My own painting was influenced by what she accomplished, especially from the point of view of working with different shapes.  I place a very high value on the people behind the artwork, and on the way out at the airport, bringing Elizabeth Murray back to her plane to New York City, I couldn't help but be amazed by her stamina in the face of all the work she had yet to accomplish. 

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Art in Data



Check out the ACS magazine article first on Rebecca Aloisio.  If you didn't see it when it was first published last year, here is a chance to read what Rebecca had to say about her development as a fine artist, here is the link: https://www.acs-mag.com/acsmagazinejuly-aug2017issue



Rebecca Aloisio at Rochester Institute of Technology

"We are confronted daily with insurmountable amounts of visual information.  This influx of data quietly shrouds our sense of truth, burying it under veils of the sensational, the staged, the crude, and the hyperreal. One can never be quite certain if the image before them represents documented history or a simulated probability. Navigating this paradigm is at the core of my practice. I want to make images that speak beyond abstraction.  I want viewers to be accountable, questioning and challenging the authenticity of what it is they are seeing." - Rebecca Aloisio


art by Rebecca Aloisio
"Object" at The RIT University Gallery

With an opening reception in September, the art of Rebecca Aloisio is being featured in a solo exhibition of large scale works that defy the easy categories we have for two dimensional art. Are these paintings, prints, or collage, or all of the above?  If these works are not abstract than what do they represent?  There are bits of things that we can recognize - a texture here, or a form there, but this looks like a universe that has been put into a blender and a new context is developing to interpret these images.  There is a beauty to these compositions to be sure - a real artist has been working at her craft and now has something to show for it.


Rebecca Aloisio print in the studio

As a mentor, I had the opportunity to work with Rebecca last year in the printmaking studio, and had the chance to see how she worked at her art.  Above was a photo I made of one work  with strong color and a sense of dimension, and you can see bits of this in the new pieces  which are framed and hanging in the University Gallery in her show called "Objekt" until October 6th, 2018.

This summer I was pleased to be able to write a recommendation for Rebecca Aloisio, and she has since been awarded a Pollock-Krasner grant to further her art - needless to say she is on a roll.
It is a tribute to her strength as an artist that she has taken on a new and interesting path in her art that is confronting the barrage of digital materials that are in our lives today.  Let us see how she sorts it out.



Rebecca Aloisio 
at the RIT University Gallery



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Mind Over Matter




Dan Scally and Peter J. Sucy exhibition of their art at
Geisel Gallery
One Bausch & Lomb Place, downtown Rochester, New York

Is this art in 3D or should it be in 4D?   I am writing about the show that arrived recently in the Geisel Gallery ( "Mind Over Matter in 3D " - open until August 30th, 2018 ) found on the second floor of Bausch & Lomb Place in downtown Rochester.  Why I ask this question about the art of Dan Scally and Peter J. Sucy is that their artworks on the walls of this exhibition need that extra dimension of time and space, because the work is colorful, sculptural, and needs to be viewed from different angles.  This is true for art presented on lenticular panels by Peter J. Sucy, and it is certainly true for the art of Dan Scally.



Peter J. Sucy presents images on lenticular printed screens

Dan Scally presents artworks that fall within more traditional aspects of sculpture and collage especially the so-called "found objects" that we have seen in 20th century art.  In contrast, the majority of the pieces by Peter J. Sucy rely on digital imagery presented on little lenticular display screens.  What is a lenticular panel?  In essence, it is a kind of specialized printed lens with basic backlighting that tends to give these artworks the look of real depth, it kind of fools the eye.  You may have seen this kind of thing before in cards and printed advertisement that makes the image appear to be moving - this is not the usual thing that you find in an art gallery ( maybe things are about to change! ).


Dan Scally reworks Jackson Pollock

In his idiom Dan Scally is having fun working at his art in images which can range from a rendition of a Jackson Pollock storm on a bright metallic surface to a collection of different textures of wood that make up a tactile portrait of a landscape.  Continually experimenting, Dan Scally has some very attractive works that are modestly priced and a few have already sold.  From the looks of this show I can't think of a material that would shake his confidence.  My eye was attracted to a number of his pieces including something that resembles a spiked hubcap toward the back of the exhibition.



Dan Scally has a wide variety of materials in this exhibition
at
Geisel Gallery
Rochester, New York

Peter J. Sucy has a deep interest in the development of 3D prints as he explains in his artist's statement.  He is a Kodak veteran who was in line to take on a difficult assignment - perfecting the lenticular printing process and it seems to work for him here.  I know from my own experience in modeling 3D environments that this is a time consuming way to create art and there is a lot to learn along the way to make objects worthy of presentation in a gallery setting.


"Mendon Drain" by Peter J. Sucy

With these lenticular screens the quality of the image is very important as is the angle from which you stand and view them.  Each work requires a steady light source, and I wonder how permanent the images are in this printing process.  There is room for invention and wit and Mr. Sucy has a very interesting viewpoint to share.  In one image, a famous painting by Edward Hopper is reworked to include a kind of flying bird/machine looking in on the skeletal folks having their coffee in the Nighthawk Cafe.


Peter J.Sucy at Geisel Gallery

Take some time to go and look at this interesting two person show.  There are many works to see and trying to follow the development of a theme here requires a patient heart.  It is worth the effort.



Peter J. Sucy ,  3D prints of Chess pieces
compliment this show
at Geisel Gallery
Rochester, New York








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Summer Chance




Tom Otterness' The Creation Myth
Goodman and University Avenue
Rochester, New York

Winding my way to the studio in the Hungerford Building the other day I noticed workers and trucks at the installation on the corner of University Avenue.  I went over to see what they have been doing and I was surprised to see that the sculpture from Tom Otterness has been switched out.  It came as a surprise because I don't remember reading anything about it in the papers.  In case you haven't been by there - this set of sculptures has become a popular destination  - and now there is a new version in metal of one of his pieces,  recently installed.  I wonder why, and how it was changed, not that anything was lost - it is just different!  Now we have one in metal and one in stone, along with many of the little versions sprinkled around the grounds of the Memorial Art Gallery. 



Tom Otterness 
at
The Memorial Art Gallery


A little further on my way, on College Avenue, Gallery r is closed for the summer, and will be opening in a new spot during the fall in a mid-town location.  I am sure we will have some interesting news about that to share with you soon.  The College Avenue location has served the students and faculty of R.I.T. well,  and now we will see what will happen in their new exhibition space.

If you plan to visit galleries this summer, take in a new show that is by photographer John Retallack being held at the Joy Gallery, 498 Main Street West, in Rochester.  John mentioned to me that his show called: STORY will remain at the gallery during September.  John Retallack has been involved with photography and printing for years, and he was also teaching at Rochester Institute of Technology which was where we first met.  The interesting thing about these new photo prints on view is that often John has hand written a story to go along with the image.



John Retallack
at Joy Gallery
498 Main Street West, Rochester, New York

Some of the photos in the present show go back in time; John is revisiting places he has been and telling the stories of how the photos were made.  Not all of the prints are combined with his hand writing however.  Some of the photos  are quite unique ( especially his toy truck images ) and other photos seem to come from a time when he was mainly making portraits.  In fact he published a book with Anne C. Coon of faculty portraits  at R.I.T.  ( there is an image of Scott McCarney in the present show as an example ).


Jed Perl's compendium
"Art in America" 
The Library of America, published by Penguin Random House

Summer is a time when I can catch up on my reading, and I can recommend a compendium that has been published from Jed Perl.  He collects essays from writers on American Art - going back to 1945 and ending up around 1970.  In collecting this 800 plus page  book Jed Perl writes introductions for each selection, and tells us why he made the choice of these essays - why he feels they are necessary for a better understanding of the art we see in galleries and museums.  I think this would be a good selection for anyone who is curious about what was being said about  some of the well known artists of the time including writings by some of the artists themselves including Isamu Noguchi,  Barnett Newman, and Willem de Kooning.  It may surprise you how eloquent some of the artists are in their communications!



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Botanical Book Reviews

Looking forward to reading this review as I need books to recommend for my class in Zoological and Botanical Art set to start in two weeks!
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Celebrated Artists Sometimes




Gorges, just Gorges
August, 2018

Spending a day in the Finger Lakes, taking in the sites ( see above ) and thinking of the future.

For this writer,  I go back to my teaching schedule at Rochester Institute of Technology and I think about opportunities to show my recent artwork - with a exhibition going on in Los Angeles at LACDA ( see below ) and also one in Poughkeepsie, New York which I wrote about in my last posting.



"OPEN SOURCE"
LACDA ( Los Angeles Center for Digital Art
August 9th thru September 1, 2018

I am in Ithaca, New York for a visit to the Herbert F. Johnson Museum of Art on the campus of Cornell University, and I visit a couple of shows there that gave me a good feeling of time well spent looking at their art.  I am at a point where I am making plans to teach, and I am looking outside of myself for inspiration, and I find it in other people's art at the present.



Herbert F. Johnson Museum of Art
Cornell University campus,
Ithaca, New York


The show "Shifting Ground" is a survey of landscapes - mostly mid-20th century that come from unexpected sources.  Where you might expect to see Fairfield Porter, or Neil Welliver, instead there is Karl Schrag and Alan Sonfist.  The ideal here is to introduce artists that are not familiar names and give the viewers a chance to evaluate their contributions to the notion of "landscape".   This is not a show for plein air painters, matter of fact this is much more conceptual in nature.


Karl Schrag, 1970
"Land,Sea,Sky " color intaglio print


Alan Sonfist
"Gene Bank of New York City", 1974
Photographs and vials of forest elements


Karl Schrag ( 1912-1995 ) was an artist who may be better known for his coastal watercolors and a style that is close to Charles Burchfield.  He taught printmaking at The Cooper Union just before I entered that art school for my BFA degree.  Alan Sonfist is an artist who has worked in a number of genres, and here is represented by a wall size series of photos of New York's Central Park and bottles of samples taken from the forest floor.  This more conceptual approach to image making has a point:  these samples may be needed to recreate the forest, should society need to undertake that project.  

The benefit of walking through this exhibition is to get the viewer to think about landscape beyond the prosaic, and look at it fresh with new eyes.  This leads me to the second show ( "The Touch of the Butterfly" ) that is arranged on the lower floor that opens a door to the artist Whistler and his inspirations and influences.  This is primarily a show of prints, and it begins with beautiful little images from Rembrandt's portraiture and brings to our attention not only Whistler, but the artists of which he is associated.


James Abbott McNeill Whistler ( 1834-1903 )
Intaglio etching of Drouet, 1859 

Wonderful direct etchings from Whistler like the portrait above, made this museum visit worthwhile, and there were so many more prints of interest including his Asian influence felt in the work of Hiroshige ( see below ).  I happened to be in the museum with a friend, Geoffrey Oliver who is a Japanese Print dealer, so we talked a lot about the art form and how Whistler was influenced by the Orient.


Hiroshige, from the show " Touch of the Butterfly"

Closer to my home in Rochester, I had the chance to go to the opening of a show of artwork by Cathal O'Toole ( 1904-1991 ) who was also a painter and printmaker - born in Ireland, spent time living in New York City, and came to teach here in Rochester.  I knew his printmaking from the time I was the President of the Print Club of Rochester, and we had commissioned a print from this artist for our subscribers.


Cathal O'Toole  ( 1904-1991 )


Now at the Axom Gallery, you can go and see a collection of works that span most of Cathal O'Toole's career, including landscape paintings, and abstractions and so much more.  One has to be thankful for the opportunity to look over these artworks which are modestly priced - it is like getting a rare look at the artist's inventory.  Cathal O'Toole had skills, and he was an artist who deserved your attention.


"The Visionary Works of Cathal O'Toole
at
Axom Gallery
176 Anderson Avenue, second floor
Rochester, New York





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Blog on Wheels ( Part Two )





Barrett Art Center show
"Pushing Paper"
August 11 - September 22, 2018


I have been hearing good things about The Barrett Art Center in Poughkeepsie, New York, so it is off to the Hudson River Valley to find this place and bring my two works for the show that will start in August called: "Pushing Paper"  ( see above ).  In the older section of Poughkeepsie, right near a park by the river is an old brick building that now houses The Barrett Art Center, and they have put together a roster of interesting shows that they are mounting.  I think this is a fine idea, and it will help re-vitalize the art scene in this picturesque town that I knew many years ago when my cousins lived and worked there.


Inside The Barrett Art Center

The Barrett Art Center had a selection of photos upstairs, and a student show when we were visiting.  The interior spaces are very much like walking through the door of someone's home built probably in the late 19th century.  We were met with a friendly receptionist, and I hope that the shows attract some attention.



Making our way out and into New York City we encountered some devilish traffic and suffered through it all the way to Brooklyn.  The next day we spent in the Brooklyn Museum and found solace in the way they have re-imagined their shows, stressing diversity.  This made me think about how hard it has been for some artists who wanted to have their work presented with some respect, and only now have points of view opened to accept and promote their art.



Along Eastern Parkway is the Brooklyn Museum of Art

The show on the top floor began with some classical marble sculpture and an installation of glass art called: "FLOAT" by artist Rob Wynne which will be on view into January, 2019.  This installation actually carried through many rooms  - though each room had something different.  Sometimes the glass art was purely abstract, other situations called for glass letters that spell out some nifty statements: "I Saw Myself See Myself" is one example.



At the entrance to FLOAT
Brooklyn Museum

Further into the museum we came across rooms devoted to Transformation - Life and Death in the Americas - which features many art forms going back into history from native tribal artists of North America, Central America, and South America.  There are  many fine examples of Aztec carving to Northwest Coast masks and beyond.  The show opens your mind to all new perspectives on the power and sophistication of these ancient traditions that would produce these objects.  



Aztec stone carvings
Brooklyn Museum


Transformative Northwest Coast Mask

Downstairs in the Brooklyn Museum there was a different exhibition that featured 120 Radical Women - artists mostly of Hispanic cultures from the mid 1960s through the mid 1980s - and  here once again I was taken by the nature of this show and the fact that I had not been aware of many of these artists whose work I was seeing for the first time.  In the exhibition there was a large wood piece by Marisol that  appears in many books around the beginnings of POP Art - though in retrospect I doubt this art has much to do with POP commercialism.



Marisol at Brooklyn Museum

Another artist that I did find had something more to do with the POP Art sense - but she puts her art thru an activist lens and her prints work at your conscience - and these are the work of  Ester Hernandez, that you can see below.


Ester Hernandez takes on Agribusiness with her own brand of POP
Brooklyn Museum

Before we left to go home we took another look at the big installation of Judy Chicago's Dinner Table which now has a real space devoted to this unique artwork.  As you go around this triangle stop and look over each setting  - and think about the time and care that goes into each part of this major work.

It can give you chills thinking of it, and all of the inspiration that the women who are honored at this table have brought to us all.


Judy Chicago at The Brooklyn Museum

So, we prepare for the long drive back upstate, don't forget the umbrella, it is going to be a pretty rainy day as we pass by the site of the World Trade Center, which is packed with tourists on this summer's day.


Traffic at a standstill..
New York, New York









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Blog on Wheels






"Bird Food"
Alan Singer, July 2018
Transfer monotype on paper

From Rochester, New York, to Ithaca, to Poughkeepsie, to Brooklyn and back...what I do for my living is an art - and it takes a lot of work!  I just left Rochester on this hot day in July feeling good about a new print that I pulled in my studio that I call "Bird Food".  The really funny thing about the print is not the subject matter, but the fact that the image is derived from a mathematical function.  I have been working on developing my prints for years now based on forms of geometry and so I feel excited about going in this new direction especially since the genesis of these images is so  unique in art. This month's Scientific American has an article about art and mathematics and is worth reading.  I think eventually people are going to want to know more about this endeavor.




In a park outside of Rochester Contemporary Art Center
July, 2018

We go on the road for a few days, and before that I visit the Rochester Contemporary Art Center to see the Kalpa Tree being built in the park next to the Art Center building.  The Kalpa Tree is the brainchild of artist Alexander Green and a San Francisco design studio called Symmetry Labs.  The Kalpa Tree is actually a sculpture that will illuminate based on an interactive interface that will result in a broadcast of colors and patterns in the park the likes of which we have never seen before, so this is truly a  wonder to behold as it is now being built from the ground up.



Nancy Ridenour at CAP Artspace on the Ithaca Commons

I have to deliver some of my artwork downstate, so we stop for a while in Ithaca, and I hop over to see two exhibits going on right now.  "Wing Beats" is a two person show at CAP Artspace on the Commons and I have been going over there to see shows for a while now.  This particular show is all about birds and I knew the photos of one of the artists ( seen above ), Nancy Ridenour - having just spotted her work in the State of the Art Gallery down State Street.  Paula Bensadoun is the other artist in this show and her works are mainly drawings including one below of Roseatte Spoonbills that you see below.  The photos are often printed on canvas or stretched around a frame, while the drawings are often in pastel, and are a bit more romantic.



Paula Bensadoun at CAP Artspace

Only a few steps away is the Ink Shop, and this month they have a new show of a variety of printmaking artists all associated with a press in France.  I was told that this is an exchange show, and so the French artists were new to me and I enjoyed seeing their prints for the first time.  Fabienne Veverka is staying here in the U.S. and was the Director of the Atelier de Gravure de la Villedieu.  She brought with her a selection of fine prints for this present exhibition.  Fabienne also has her own work on view and I found a wonderful print she made that is all about color and gradations from one to the next - and it is very enigmatic.  Other images presented are more traditional, and I gather that the Atelier offers a wide variety of printmaking methods including those that are experimental.



Fabienne Veverka
at Ink Shop
Ithaca, New York


Michelle Urbany
Atelier de Gravure de la Villedieu


Ithaca is undergoing a building spree, especially in the downtown area around the commons.  New hotels, and new stores, when you walk downtown you can't help but notice - Ithaca is booming.  I wonder how this is going to shape the visual arts scene going forward...?



Sculpture on the Ithaca Commons


Buildings going up in Ithaca, New York











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Inside Story at MAG




Josephine Tota ( 1910-1996 )
Inside the Memorial Art Gallery
Rochester, New York
Summer, 2018


Too hot and humid to work in the studio, I made up my mind that I would be better off going over to the Memorial Art Gallery to see their new shows and hear from the curator of "The Surreal Visions of Josephine Tota".  Josephine who?  How often does our museum here in Rochester - introduce us to a totally new figure - a self-taught artist who died in obscurity but left her family a copious amount of small scale paintings that tell a large story worth sharing.



Questions and answers about Josephine Tota
Sunday, July 15, 2018


Josephine Tota's art at the MAG

Jessica Marten is the Curator in Charge at the MAG and she spent part of her afternoon talking with her audience in the museum auditorium about how she first encountered the art of Josephine Tota, and how this art offered a rare opportunity to open a new chapter for these paintings which had never been seen at all by the public.  Josephine Tota had experienced psychological problems and had virtually withdrawn from her work as a seamstress but forged ahead with her art at home.  Josephine Tota probably never expected her paintings to be given such an arousing welcome as we have here at the MAG.


Josephine Tota's paintings tell stories...


Paradoxical visions...


Curious personifications...

Josephine Tota lived in Rochester, New York, so her story has resonance with an audience gathered for the opening of the show.  She could be considered a naive artist - but the sentiment and emotion expressed in her art has more of a surreal context and an illustrative quality to it.  The 90 pieces on display owe more to an earlier century of European art, especially the flattened patterns of medieval manuscript paintings that Ms. Tota so enjoyed during her life.



Grandma Moses

On this Sunday afternoon, I stay to hear Karel Ann Marling speak about Grandma Moses, another self-taught painter who was a star in her own right - I grew up looking at her artwork often published in the 1950's and 60's - which had some influence when I was a child.

Karel Ann Marling is a very interesting speaker having spent years working up her biography of Grandma Moses, and I am very taken with the images, history, and cultural effects that her paintings had, and one can wonder if Josephine Tota will have that kind of impact once her paintings become more well known.


Nancy Jurs at the MAG

Nancy Jurs is a sculptor and installation artist who is well known and respected here at the MAG.  Her show has a title: "My Life Has Gotten So Busy That It Now Takes Up All Of My Time".  Her sculptural works are mainly fired ceramics - some like the grouping installed at the Rochester Airport years ago are quite large.  In this present selection her art is often found in sequence - hanging here under a scrim - which reads almost like a filmstrip.



Model for Airport Installation by Nancy Jurs


Down the hall in the Lockhart Gallery, Larry Merrill has a selection of photos on view that he has made of classical sculpture.  Some of the sculptural pieces come from the Memorial Art Gallery permanent collection and measure only an inch or so across.  In Larry Merrill's photos the lighting gives these objects a real presence, and a viewer can take in nuance that may not be really evident when seen as a real 3D experience.  The photographer's eye captures something else, a quality often of decomposition - some of the unsettling aspects of looking at antiquities from a more analytical perspective.  We really get a sense of how the years have gone by, the depth of history, and the vulnerability even of artwork carved in stone.



Larry Merrill presents: "Wards of Time"




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