Tag Archives: BurnAway

Kenney, Moneyhun, and Volta at Stanley Beaman Sears

Super convenient, super interesting art situation last night at Stanley Beaman Sears, an architecture firm in the heart of downtown Atlanta that hosts quarterly exhibits in its super fine space.

Gallery 180 at Stanley Beaman Sears, open during regular business hours.

Gallery 180 at Stanley Beaman Sears, open during regular business hours.

As explained by Burnaway, Steven Williams of Jacksonville’s Florida Mining gallery, who is the spitting image of Stanley Tucci in The Devil Wears Prada, brought three of his artists to Atlanta to give our city “a try.” Last night’s opening gathered the artists, Mr. Williams, and a compelling exhibit for a delicious, uncrowded, and memorable night of viewing.

Marcus Kenney before his work composed of box springs and vintage jewelry.

Marcus Kenney before his work composed of box springs and vintage jewelry.

Marcus Kenney gave an amusing talk about his work, and made himself accessible for chatting with all comers. The entertainment value of his work here is far higher than a Hollywood movie. Mr. Kenney’s resume is notably full, you collectors. He also shows his work at Marcia Wood Gallery.

Hiromi Moneyhun's "Doppelganger."

Hiromi Moneyhun’s “Doppelganger.”

Hiromi Moneyhun’s paper-cut works generated a lot of buzz in the gallery. Many viewers in attendance last night were architects who marveled at the extended concentration and perfectionism that Moneyhun’s work demonstrates. The conversation seemed never quite to reach the imagery that Moneyhun pursues, full of flowing hair and curvilinear garments.

Kedgar Volta’s video works stand on a firm set of ideas that Volta enjoyed discussing. The works on display are understated, stripped of color, and in this gallery, lacking sound. Better for you to visit Volta’s website and watch his work on your home system.

Not sure what we think about gathering all of these artists under the banner of “Southern artists,” though we advocate the South finally admitting the diversity inherent in its artists and art.


Another Saturday in May

On May 17 we started with pottery at the Signature Shop and Gallery, moved on to the High Museum, and finally to the Marcia Wood Gallery.

"Saucey Pitcher," Jenny Lou Sherburne

“Saucey Pitcher,” Jenny Lou Sherburne

At the Signature Shop: We love the title of this show: “Potters of the Roan,” which is also the name of the artists’ guild in the Roan Mountain area. Searching for works that go beyond the decorative has its pay-offs. (Through June 28.)

Stoneware plate by Michael Kline

Stoneware plate by Michael Kline

The show includes works by many others. Michael Kline was a resident artist at the Penland School, and Jenny Lou Sherburne has been a studio potter for over 25 years. Mr. Kline’s blog includes a Vine clip showing creation of a scalloped rim.

At the High Museum: The big show is currently set aside for concept cars. We felt drawn instead to the new display of African masks. According to the exhibit, “Pende masks with black-and-white faces are often referred to as masques de maladie, or sickness masks. Each represents a person who has fallen into a fire and whose face is permanently disfigured. Performances of these masks promote compassion toward individuals who have suffered such calamities.”

Pende Artist, Democratic Republic of Congo, ca. 1875-1925. Wood and pigment.

Pende Artist, Democratic Republic of Congo, ca. 1875-1925. Wood and pigment.

On the question of what should or should not be displayed as “art,” Dr. Jerry Cullum in an essay at Burnaway.org explores the harmonies between showing automobiles in an art museum and the Carter Center’s showing (through September 21) of functional objects from Kongo society as an art exhibit.

Medford Johnston’s works at the High through June 8 perhaps represent aspects of a foot-borne culture from the viewpoint of an American raised in a car culture. (Johnston was born in Decatur, GA.) The Museum’s wall text: “The jagged contour of the [herder’s walking] staff in juxtaposition with the graceful poise of its owner, seen in silhouette against the horizon of East African plains, inspired Johnston’s years-long study of balance, counterbalance and dissonance in the interdependent relationship between people and nature.”

Three works from "Counterpoise," by Medford Johnston

Three works from “Counterpoise,” by Medford Johnston

At Marcia Wood Gallery: David Humphrey gave a delightfully casual talk on his paintings and sketches. The exhibit title, “Blind Handshake,” is also the title of his book of art criticism and studio art. It was obvious that Humphrey is an intellectual force. He was mostly unfazed by an overly confident and vocal thinker in the gallery’s audience. Thank goodness for Ms. Wood’s hospitality on the patio, and for afternoon sunshine.

David Humphrey at Marcia Wood Gallery

David Humphrey at Marcia Wood Gallery

On Regionalism–an Opinion or Two

Stephanie Cash of BurnAway.org poses the question of whether regionalism is a help or a hindrance to the development of art in our region. Here are a few thoughts.

For many years now the thinking among marketing professionals is that the best way to market places of tourism and the arts in a state like Georgia, is to market them as unique to their place and time. Heritage tourism, history tourism, eco-tourism, agri-tourism, literary trails, and food tours, are the result.

Downtown Hapeville, April 2014

Downtown Hapeville, April 2014

The trend will probably continue. Artists can expect to see arts marketers positioning the arts within their particular time and place.

And yet we can expect young artists, who are taught that the highest art transcends its time and place, and who are encouraged to aspire higher, to resist the regionalist thinkers and marketers. Can we blame them if they seek to move to, and grow in, the world’s centers of art? We can certainly forgive them if they feel a chill as they perceive the narrow markets for their work outside major cities.

We can also forgive them if they feel no reassurance when it is proposed in academia that there is no such thing as transcendence of context, but only our own contemporary interpretations and evaluations of the art that we consume and discuss.

In current conversation and writing about contemporary art, we may or may not discuss the artist’s particular time and place. One suspects that the more distant in time the artist is, the more that context is allowed to matter.

In many art galleries along the southern coast, where the walls are covered with pelicans, driftwood, and sunsets, it’s hard to see how any of the artists look outside their communities for intellectual challenge. But they are older artists, and perhaps lack the obsessive vision of greatness, relying instead on the joy of continuing to work and notice what is set before them.

From the world of pop music, an interesting and perhaps instructive example of a small place achieving greatness is Muscle Shoals, Alabama. The finest pop artists from London, New York, Nashville, and Los Angeles sought out that little place to make great records. You might find the documentary film Muscle Shoals, by Greg Camalier, to be stimulating on questions of regionalism.