Check out the video for Pretty Ugly, up at James Gallery through November 2nd, 2019.
Check out the video for Pretty Ugly, up at James Gallery through November 2nd, 2019.
I’ll be showing a new series of drawings at the Irma Freeman Center for Imagination in the Garfield neighborhood of Pittsburgh from October 4th Through November 9th, 2019. The group show, titled The Salvation of Art: Pittsburgh by Pittsburgh Artists, is curated by Sheila Ali and includes the work of twenty established Pittsburgh Artists. The show also marks the ten year anniversary of the Irma Freeman Center for Imagination.
For The Salvation of Art: Pittsburgh by Pittsburgh Artists, I’ve returned to a medium that is at the core of artistic practice: drawing and sketching. There is something immediate about a doodle or sketch. The medium can capture the feeling of a moment better than a photograph or complex painting. I’ve visited Pittsburgh places, making ink drawings on-site. The places are ones that I have frequented during my time as an artist in Pittsburgh.
I’ve recently completed a new body of works for a show at James Gallery, Pittsburgh, PA. Pretty Ugly, which opens Friday, September 20th, features a group of artists practicing outsider art, folk art and eclectic approaches to depicting the figure.
It’s been a while since I’ve done regular blog posts. Here are some images from a November 2018 puppet show at the Westmoreland Museum of American Art. Mike Cuccaro and I developed a series of shows about the Pittsburgh folk legend, Joe Magarac. We wrote a script, crafted puppets and then built three shows to perform in various galleries of the museum. We adapted a variety of Magarac legends, weaving in content from the works in the Westmoreland collection. The shows were played throughout the day on the museum’s Family Day.
This May I spent thirteen days at Upper St Clair High School as resident artist. I spent two weeks with a core group of around forty students (and two very supportive art teachers) to develop and create a public work for the school. I then spent three days visiting classrooms to provide an arts experience for all tenth graders.
I generally compose residency plans after meeting with school administrators and representatives from the PF/PCA Artists in Schools & Communities program. Although I design lesson plans in advance, my school residency projects are largely student-driven. I facilitate a process that involves learning, experimentation, brainstorming, decision-making, planning and implementation of a project. This is a lot to accomplish in ten days with a core group. Regardless of the final outcome, the rigorous pace gives participants experience in being part of a collaborative project. Compromise, delegation of tasks and teamwork are essential.
The project was broken down into one week of research and exploration followed by one week of construction and placement of an installation. This schedule allowed us to figure out ideas that we wanted to express in the work. It also gave all participants a chance to express their ideas.
WEEK 1: Project Brainstorming & Planning
The core group project began with the goal of developing a student-informed project that would express themes of empathy and understanding. I began by giving the students a presentation of my work, emphasizing the various forms that art can take. These included site-specific installation, public art events, social projects and performance art.
On day two, core groups viewed a presentation of works by contemporary artists addressing social issues. We looked at how Pedro Reyes addresses gun violence through projects that transform guns into musical instruments and gardening shovels. We looked at the work of Chinese artist Ai Weiwei and discussed his messages of freedom, justice and equality. After the presentation and discussion, participants were given a survey asking them to describe issues that they feel strongly about and to suggest ideas for a collaborative project. We wrapped up with each student sharing an idea from their survey.
Our initial discussions and survey revealed a wide variety of interests and ideas. On the third meeting we looked a compilation of our collective concerns including equality, mental health and the environment. Our investigations into the motivations for art making made for some interesting philosophical discussion.
Day three transitioned into an exercise in voicing our ideas through text-based art. After looking at examples by Barbara Kruger, Glen Ligon, Vanessa German and Bruce Nauman, each participant created their own text-based work in black and white acrylic on paper. Some of the challenges of the exercise were 1. Trying to present a clear message. 2. Thinking outside of one’s own knowledge and experience to create a piece that exhibits understanding and empathy. 3. Keeping the works creative. After works were completed, we arranged them in a school hallway and had a critique. Some of the text-based exercises were later attached to our final installation.
To refocus the core group, a collage exercise scheduled for the fourth day was changed to an exercise in manifesto-writing. Through debate and conversation, we realized that the core group was interested in a variety of issues. There was a strong interest in thinking outside of the school district, to have understanding of those living elsewhere. Freedom of speech and expression was also a core value that the group wanted to express. Students spoke of the difficulties in speaking their mind concerning political and social issues. We agreed that celebrating the complexity and uniqueness of each student was important and despite our differences, we could find common ground in work of creative expression.
On the fifth day we narrowed down our idea sketches into three ideas including a free-standing sculptural piece, a collection of thematic works and an immersive room containing focused areas of activity. A room or box-like form was voted on. We then began to sketch some variations of the idea and to prepare a list of materials. Wood and hardware was needed for the structure. The students agreed that repurposing materials was important, so I arranged to pick up a carload of materials from Pittsburgh Center for Creative Re-use.
WEEK 2: Construction and Placement
Monday of the second week began with loading in materials and nervously anticipating where the project could be placed. The students wanted the work to be located in a visible public space in the school. The art teachers were very helpful in getting approval to place the work in the school lobby.
Within the core group, teams worked on various components of the installation. One group worked on an arrangement of cardboard raindrops, laser cut and suspended from the installation ceiling with fishing line. Each drop was embellished with a message. Another group worked on small dioramas, viewable through small holes in one wall of the installation. A third group worked on mobiles and small sculpture to be located within the main room of the installation. One of these works, a life-size dress form sculpture expressing ideas concerning woman’s rights and equality was eventually suspended in front of the installation.
As teams worked, I quickly framed in the box shape with wood and assisted with connecting the various components. Walls were created from repurposed cardboard and fabric. Some students worked on painting interior areas.
The exterior of the installation was covered with pieces of torn maps, making the final work look like a globe pounded into a cube. At final installation various text-art pieces were attached and collaged onto the work. Two doors and compact space gave the installation a maze-like feel.
The project THE BOX or Finding Common Ground in a Complex Galaxy, opened in the main lobby of the school. A giant hand-made artwork in the midst of a grand institutional entry, the work immediately attracted attention. Some noticed the messages and were excited. Some were confused that their daily surroundings were altered. Some were curious and wanted to explore the inside of the creation. During reflection with students at the completion of the installation, some expressed the difficulties in working on something so abstract over such a short time span. Not everything worked out as planned. Some were unsure of the rough aesthetic. Overall, I think all were involved in a thought-provoking process. All were challenged to think about art in new ways.
Several times a year, I visit schools to work with young people on the development and creation of collaborative art projects. Sometimes schools seek me out for a particular project. Most often I’m paired up with schools through Pittsburgh Center for the Art’s Artists in Schools & Communities program. Projects aim for several goals including: 1. Providing students with the opportunity to work under the guidance of a professional artist on a collaborative project. 2. Providing a hands-on art making experience that goes beyond what is generally produced in school. 3. Giving students a stake in a project that involves creativity, trial and error, and decision-making. Aiming for these goals doesn’t always guarantee a successful, aesthetically pleasing or permanent outcome. More importantly my goals stress the importance of creativity, a quality that is often stifled in a highly regimented and heavily structured school atmosphere.
For the musical chairs project, I arranged to bring old chairs, scrap wood and basic manual hand tools to a rural Western PA middle school with the goal of transforming the chairs into a sculpture. On my first day at the school students attended a presentation of my work. I talk about my brainstorming process, inspiration for projects and how to organize a project. We also looked at other sculptors including Jessica Stockholder, Alexander Calder and Pablo Picasso. On my second day, students made individual sketches to brainstorm what could be created out of a bunch of old wooden chairs. The sketches were then compiled on one big brainstorm board.
My third visit involved teaching the students how to safely use a variety of hand tools. These included hand saws, clamps, screw drivers, a brace and rubber mallets. Students were tasked with deconstructing old chairs by sawing them apart or breaking them down with the mallets. For construction, various fastening methods were covered including drilling and pegging, using screws and rope work.
By my the fourth visit, we had an idea of what we wanted to create. We had been experiencing a constant flow of music emanating from the music room across the hall. One of our brainstorming ideas involved constructing a creative ‘park bench’ to place in the school. After thinking about music, we were reminded of Picasso’s Three Musicians, leading us to the ‘musical chairs’ theme. Over the remaining classes, students separated into groups. Some groups measured and cut pieces. Others worked on the main structure of the sculpture. Some experimented in creating interesting shapes and some worked on embellishing parts of the sculpture with acrylic paint. The music department even donated some old musical instruments to be deconstructed and reworked into our sculpture.
The final piece suggests an ensemble of musicians playing with forms resembling upright bass, electric guitar and keyboard. Colorful wooden chimes give the work a kinetic component. The work was installed in the entrance area of the school library. School rules prohibited photography of students working on the project.
Pittsburgh artist Ryder Henry led team Answers to victory in the tenth Art Olympic competition on Saturday at the Re:NEW Festival, Downtown Pittsburgh. Henry’s team members included Nick Falwell, Kate Bechak and Jennifer Bechak. Henry and team were permitted to bring one brown paper bag of tools into the contest, a bag that appeared to contain a bunch of rusty hand tools. Wasting no time, Answers began by dumping their giant palette of Goodwill merchandise onto their nine foot by nine foot working area. Adversity struck early as a greasy mess oozed from an unidentifiable object being cut with a Sawzall. As their space transformed into an oil slick, event organizers raced to contain the spill. Frantic team members broke down furniture by smashing chairs to the ground. Eventually Answers caught their stride. Objects provided by Goodwill, the event sponsor, were used in clever ways. A rotary telephone was created, complete with dialing mechanism and ringer. At the end, Henry dialed the phone and ordered pizza, singing a jingle recalled from the distant past, “twenty-nine minutes or it’s free!”
Several audience member’s were victorious in the audience participation games. Ryder Henry’s wife Maya took a break from cheering and won the puppet making competition. A recent arrival from Russia, Sasha, won the Halftime Sculpture Contest. Kirsten Ervin won the Seventh Inning Sketch, capturing a confident likeness of art critic Graham Shearing.
Images by Larry Rippel Photography.
Five audience member took part in the Seventh Inning Sketch, a portrait sketching contest with art critic and event judge Graham Shearing serving as model.
Each Art Olympic Team was provided with a basic tool kit and a giant bin of Goodwill items. Teams were allowed to bring in one brown paper grocery bag of their own objects.
Alisha Wormsley of “Team Trebuchet” interacting with a member of the audience.
Ryan (Water) and Audra (Earth) of team “Our Powers Combined” discuss strategy.
Event judge Gwen Bowman observes the theatrical developments of Gab Cody and “Team Trebuchet.”
Artist T.Foley, a participant in first Art Olympics of 2007, provides a personal account of her time in the Art Olympic arena.
Activity branched out well beyond the team nine foot by nine foot spaces.
The crowd awaits the winner of the puppet making contest.
An audience member provided feedback on the work in progress.
“Team Trebuchet” arrived with their brown paper bag filled with books. Here team leader Sam Turich reads as judge Graham Shearing looks on.
Team “Our Powers Combined” invited audience members into their square to MAKE ART.