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November 11, 2016

Theyre an efficient team

Category: artifizz,drawingcherry452 @ 10:33 pm

Saturdays GamesNHLMontreal 1 Washington 0 (OT)Detroit 4, N.Y. Islanders 1Ottawa 7, Arizona 2Dallas 5, Winnipeg 2Philadelphia 1, Toronto 0Calgary 4, Edmonton 2N.Y. Rangers 4, Carolina 1New Jersey 3, Florida 1Boston 3, Los Angeles 1Tampa Bay 3, Columbus 1San Jose 2, Chicago 0—AHLHamilton 5 Iowa 3Utica 3 Toronto 2 (OT)Albany 2 St. Johns 1 (SO)Syracuse 3 Hershey 2 (OT)Worcester 3 Providence 2Portland 6 Bridgeport 4Adirondack 3 Rochester 2Hartford 3 Springfield 1Milwaukee 4 Grand Rapids 0Lehigh Valley 6 Wilkes-Barre/Scranton 2Norfolk 2 Binghamton 1Chicago 4 Rockford 1Lake Erie 2 Oklahoma City 1 (OT)Texas 4 Charlotte 0—NBAToronto 120 Washington 116 (OT)Dallas 108 Orlando 93Sacramento 99 Indiana 94Atlanta 91 Philadelphia 85Detroit 114 Houston 101Memphis 85 Oklahoma City 74Cleveland 106 Minnesota 90Milwaukee 95 Portland 88Charlotte 104 Denver 86L.A. Clippers 105 San Antonio 85Golden State 106 Phoenix 87—NLLToronto 12 Calgary 11Rochester 17 Buffalo 11Vancouver 16 Colorado 13— Cheap Jerseys. And by all indications, the team is expected to select phenom Connor McDavid with their selection. The Buffalo Sabres, who were knocked down to the second overall pick after finishing with the worst regular season record, are expected to take the other generational player in Jack Eichel. NFL Jerseys China. LOUIS — The Atlanta Braves used a two-run rally in the ninth to end their road trip with a win. http://www.cheapnflchinawholesale.biz/. The Nuggets leading scorer, Lawson is characterized as day to day by the team. Hes averaging 17.9 points and 8.9 assists. Lawson suffered the injury late in Denvers win Sunday at Sacramento. Wholesale Jerseys. The Toronto Maple Leafs forward and Nashville Predators goaltender highlighted Mondays waiver transactions, with Calgarys Chuck Kobasew and Edmontons Philip Larsen also being placed on waivers. Wholesale NFL Jerseys. The St. Louis Cardinals were scheduled to arrive in Boston in time for a workout on Tuesday afternoon. Much of Mondays discussion focused on Bostons lineup considerations as the series progresses, specifically when the venue shifts to St. MIAMI — LeBron James caught an alley-oop flip from Dwyane Wade on a fast break, threw down a dunk and then headed up court with his arms spread like some superhero. James can look the part, whether hes wearing a clear mask or a black one. Switching to a clear protective cover at the NBAs request, James had 20 points, nine rebounds and seven assists Saturday to help the Miami Heat earn their seventh consecutive victory by beating the Orlando Magic 112-98. James dispensed with the black mask he wore Thursday when playing for the first time since he broke his nose. “He was a clear-mask guy tonight,” teammate Chris Bosh said. “He was just a regular dude, a regular citizen of Gotham.” Wade scored 24 points and Bosh 20 for the Heat, who shot 58 per cent. Eleven players scored for the Heat, and their bench totalled 39 points. James said league officials wanted him to wear something that would allow opponents to see his face. The newer mask seemed to bother James more than the black one did, and he frequently took it off when the clock was stopped. “Its not comfortable,” he said. “Having something on your face isnt comfortable, but it is what it is.” While the mask was a nuisance and James nose remained tender, neither hindered his performance. “Its another challenge for a great player,” coach Erik Spoelstra said. “His game is an aggressive, attacking game, and theres going to be contact. But coming off the injury, he has been as aggressive as he was before.” James streak of five consecutive games with more than 30 points came to an end, but he took just 12 shots and played only 31 minutes. “When you come out and take care of business, thats a reward,” he said. After sitting out a week because of his broken nose, he avoided another injury when he went stumbling into the third row after making a fast-break layup and settled in an unoccupied seat. The Heat improved to 10-1 since Feb. 1, and theyve won their past four games by an average of 19 points. “Defensiively were flying around and were communicating,” James said.dddddddddddd “And offensively, obviously were playing at a high level.” The Heat completed a sweep of the four-game season series against their in-state rivals. “Theyre an efficient team, the most efficient team in the NBA,” Magic coach Jacque Vaughn said. “Thats done with LeBron setting up people, and youre getting shots that you want. Youre not rushing.” The game was the first for the last-place Magic since they broke a 16-game road losing streak at Philadelphia on Wednesday. Tobias Harris led Orlando with 20 points, and Nikola Vucevic added 18. With the Heat taking the lead for good early in the second quarter, Bosh played only 18 minutes, his lowest total since Nov. 16. “I got a bunch of night-off jokes tonight,” Bosh said. “I enjoyed it. Guys filled in and did their job.” Among the contributors off the bench was Greg Oden, playing his 11th game after being sidelined by knee trouble for 3 1/2 years. He went 3 for 3 for eight points with four rebounds in 13 minutes. “Im happy to be on the team,” Oden said. “When I get a chance to play, I just dont want to mess up.” Heat guard Mario Chalmers had the highlight play of the first half, fetching a loose ball while seated at midcourt with his back to his basket, then flipping a pass over his shoulder to James to set up a fast-break basket. The Heat also got to the rim often out of their half-court offence. “They do a good job moving the ball, driving, kicking,” Vucevic said. “They make plays for each other. Theyre very unselfish.” NOTES: Orlandos Arron Afflalo missed his fourth consecutive game. He was out with a sprained ankle and is now recovering from a brief illness. … At 42-14, the Heat have tied their best start through 56 games. They had the same record a year ago, when they went on to win their second consecutive NBA title. … The Heat improved to 15-0 at home when leading at halftime. Wholesale Jerseys ‘ ‘ ‘

This is a really good fit for me personally

Category: digital,drawingcherry452 @ 10:32 pm

SACRAMENTO, Calif. — Canadian mens rugby coach Kieran Crowley has made four changes to his starting roster for Saturdays Pacific Nations Cup clash against the United States. Forward Jake Ilnicki and centre Connor Braid have been inserted into the lineup for the Test match at Bonney Field. Winger DTH van der Merwe will also get to start and Phil Mack will return to the scrum half position. It will be the first time Canada has played the Americans since defeating them last August to qualify for the 2015 Rugby World Cup. The U.S. hasnt beaten Canada in five years. Canada dropped a 19-17 decision to Scotland last weekend at BMO Field in Toronto. Kevin Trapp Paris Saint-Germain Jersey. While Minnesota takes aim at its eighth win of November, the Canadiens will try to post just their third victory in nine games this month. Zlatan Ibrahimovic Jersey.com) – The NFL is investigating whether the New England Patriots intentionally deflated balls during Sundays AFC Championship Game against Indianapolis. http://www.soccerparissaintgermainshop.com/kids-blaise-matuidi-paris-saint-germain-jersey/. — Gary Harris gave No. Maxwell Jersey.com) – Russell Westbrook and Kevin Durant combined for 51 points and the Oklahoma City Thunder took down the struggling Bucks 114-101 on Tuesday. Clement Chantome Paris Saint-Germain Jersey. has left the San Jose Sharks to become the Boston Bruins director of player personnel.Chicago, IL (SportsNetwork.com) – The Chicago Cubs formally ushered in another new era by introducing former Tampa Bay Rays skipper Joe Maddon as their new manager on Monday. The team also announced that Maddon agreed to a five-year contract in which financial terms were not disclosed, though ESPN reported the deal to be worth $25 million and includes incentives tied to making the postseason. The Cubs moved quickly to obtain Maddons services after the two-time American League Manager of the Year opted out of his contract with the Rays on Oct. 24, shortly after Tampa Bay general manager Andrew Friedman left the organization to become the president of baseball operations for the Los Angeles Dodgers. Maddon, who guided the small-market Rays to four playoff appearances and the 2008 AL pennant over the past seven seasons, joins a long-suffering Cubs franchise that has endured five consecutive losing campaigns and last won the World Series in 1908. This is a 1-in-107 a year opportunity for me, said Maddon during Mondays press conference. The challenge is so outstanding. How could you not want to be in this seat? The Cubs future appeared bright even before the hiring of the enthusiastic and ever-optimistic Maddon, though. Chicagos present farm system is ranked among baseballs strongest and the Cubs are expected to be significant players in free agency this offseason, something Maddon never experienced during his successful nine-year run with the low-budget Rays. Those factors, coupled with Friedmans departure and the presence of Cubs president of baseball operations Theo Epstein — who nearly hired Maddon as the Red Sox manager in 2004 while then Bostonss GM — played a role in Maddons decision.dddddddddddd I knew there was a lot of common ground philosophically, said Maddon. I know that the synergy between the front office and the manager is really, really important. This is a really good fit for me personally. I feel very comfortable here. The 60-year-old takes over a Cubs team that showed improvement in Rick Renterias lone season as manager, with Chicago posting a 73-89 record in 2014 after winning 66 and 61 games the previous two years. Despite those strides, Epstein informed Renteria last week of his intention to pursue Maddon and make a switch. Renteria was offered another position within the organization but predictably declined. Even though they annually operated with one of the lowest payrolls in the majors, the Rays were a consistent contender for much of Maddons reign. Lauded for his ability to work with young players and to maximize the available talent on hand, the charismatic manager guided Tampa to six consecutive winning seasons that began with the unexpected 2008 World Series run. Joe is a combination of just about everything we look for in a manager, said Epstein. Everyone associates him with new-school because theyve used analytics in Tampa and hes so open-minded and so progressive. But this is an old-school baseball guy with a wealth of knowledge. Its hard to find old- school and new-school in the same package. The Rays, who had never won over 70 games in their first 10 seasons prior to that 2008 breakthrough, also reached the playoffs in 2010, 2011 and 2013. Maddon amassed a 754-705 overall record in Tampa Bay, easily the most of any manager in club history. Wholesale Jerseys ‘ ‘ ‘

giving her the lead at minus-6

Category: drawingcherry452 @ 10:31 pm

INDIANAPOLIS — Indiana Pacers coach Frank Vogel was worried about facing the Milwaukee Bucks in a matchup of the teams with the best and worst records in the NBA. Turns out, he had reason for concern. “If youre a team without a great record, and youve got a chance to knock off one of the top dogs, thats obviously a win that scores more points with you,” Vogel said before the Pacers 101-96 comeback victory Thursday night. Roy Hibbert had 24 points and 12 rebounds, and Paul George and Lance Stephenson each scored 18 points for Indiana. The Pacers, 44-13 overall and an NBA-best 28-3 at home, blew a 17-point lead in the first half. “Theyre a real good team and I thought we did a pretty good job of keeping it close into the fourth quarter,” Bucks rookie guard Nate Wolters said. “But then just like the other night we let it slip away. It wasnt real hard to get up for these guys tonight.” Indianas George Hill took a nasty spill along the baseline late in the game. Vogel said the starting guard was day-to-day with a bruised left shoulder. The Bucks, an NBA-worst 11-46, tied it at 50 at the half and built a six-point lead in the third quarter. Brandon Knight had 23 points for Milwaukee, Khris Middleton added 22, O.J. Mayo had 14, and Ramon Sessions 13. Ersan Ilysova had 11 rebounds and nine points. “Were still a team thats pretty much trying to find something to hang our hat on,” Mayo said. “Were a young team that is still learning and we just have to keep getting better every day. This was definitely a winnable game, but we made too many mistakes on the road against the best team in the Eastern Conference.” Indiana led 32-15 early in the second quarter after going 13 of 19 from the field in the first 12 minutes. The Pacers were 8 of 19 in the second quarter, while the Bucks shot 13 of 21 after going 7 of 22 in the first. “I dont think our guys let down at all,” Vogel said. “They understand a 15-point lead in the first quarter means nothing.” Stephensons layup put the Pacers up 50-38 with 2:10 to play in the first half. But Middleton scored seven straight points, and Knight had the last five points of the half as the Bucks used a 12-0 run to tie it. Knight opened the second half with a 3-pointer for Milwaukees first lead, 53-50. The Bucks extended the lead to six at 60-54 before George and Stephenson hit 3-pointers to tie it. “Theyve got a lot of great shot-makers over there, thats why theyve been staying in games here lately,” Hill said. The Bucks took a 64-60 lead on consecutive baskets by Nate Wolters and Zaza Pachulia, but the Pacers scored seven of the next nine points to regain the lead at 67-66. The Bucks got no closer than two points the rest of the way. “I think we got a couple stops down the stretch that we really needed, and we capitalized on the offensive end when we did get those stops,” Hill said. “Youve got to tip your hat to Milwaukee; no matter what their record says, thats a good team over there.” NOTES: Before the game, the Bucks waived forward Caron Butler after agreeing to a contract buyout. The 33-year-old Butler made 13 starts and appeared in 34 games this season, averaging 11.0 points and 4.6 rebounds. … On Saturday night, Indiana is at Boston, and Milwaukee will be home against Brooklyn. http://www.thepersonalityshop.net/NFL/Custom-Pittsburgh-Steelers/. Shot outdoors against the stunning backdrop of Banff, Alta., the networks 30-minute original production airs Friday at 8 p.m. ET on TSN2. The four All-Star teams will play for $100,000 in prize money during TSNs annual skins game, airing live this weekend on TSN from The Fenlands Banff Recreation Centre. http://www.thepersonalityshop.net/MLB/Custom-Toronto-Blue-Jays/. Returning to Davis Cup tennis, Federer cruised past Ilija Bozoljac, winning 6-4, 7-5, 6-2 in less than two hours. Federer faced little challenge from Bozoljac, who served well but still was no match for his Swiss opponent. http://www.thepersonalityshop.net/NFL/. He made another correct read. The Browns, who have been shuttling quarterbacks on and off the field all season, finally got some good news on that front: Campbells ribs are only bruised. http://www.thepersonalityshop.net/MLB/Custom-Baltimore-Orioles/.” One game is checked off, 15 remain and the next one to get crossed out could come Tuesday night when the defending champion Heat host the Milwaukee Bucks in Game 2 of their Eastern Conference playoff series. http://www.thepersonalityshop.net/MLB/Custom-Chicago-Cubs/. HEROES P.K. Subban – Scored the overtime winner and assisted on Montreal’s earlier goal, both on the power play, in a 2-1 win over Nashville.Ocala, FL (SportsNetwork.com) – Stacy Lewis, Jessica Korda and Azahara Munoz carded matching, 6-under 66s at the season-opening Coates Golf Championship. Wednesdays first round was suspended due to darkness with 21 players still on the course. Lewis, the No. 3 player in the world, has won 11 times on the LPGA Tour, including three victories last season. Lewis won the Rolex Player of the Year, the Vare Trophy and the official money title in 2014. Korda, a three-time winner on tour, won twice last year at the season-opening Pure Silk-Bahamas LPGA Classic and the Airbus LPGA Classic. Munoz has one victory at the 2012 Sybase Match Play Championship. Austin Ernst and Ha Na Jang finished up in the morning groups at 5-under 67. They held the lead throughout most of the day until Lewis, Korda and Munoz caught them later on at Golden Ocala Golf and Equestrian Club. World No. 2 Lydia Ko, who took the womens golf world by storm in her rookie season last year when she won three times and took home the season-long Race to the CME Globe, finished her first round tied for sixth at 4-under 68 with Na Yeon Choi. Lexi Thompson and Mi Jung Hur are one shot further back at 3- under 69. World No. 1 Inbee Park carded a 1-under 71 and she is tied for 15th with 11 others. Lewis was the last of the leaders to finish her round, but she did so in style and she vaulted into a share of the lead. Lewis started off her day on the back nine and she made par on 10 before rolling in her first birdie of the season on No. 11. It was short-lived as Lewis tripped to her only bogey on the par-4 13th, putting her back to even par. Following four straight pars from 14, Lewis drained another gain on 18 and she made the turn at 1-under. After a trio of pars from one, Lewis went on a huge run to finish up her round, making five birdies over her final six holes from No. 4. I just stayed patient out there, said Lewis. Finally on the back nine kkind of got more comfortable just with back playing again and just started hitting golf shots.dddddddddddd Had a couple birdies that were just tap-ins, which helped, and rolled a few putts in so it was a good day. Korda started her round on the front nine and began with five straight pars from No. 1 before getting into red numbers. Korda made back-to-back birdies on six and seven and she made the turn at minus-2. Korda rolled in her third birdie on No. 11 and later poured in three gains in a four-hole stretch from No. 14, giving her the lead at minus-6. Korda ended with a par at the last and was later joined by Munoz and Lewis in the lead. I just try and play like this every day of every year, Korda said about her success at season-opening events. I dont know, I guess I like the starts. I like being back and I feel refreshed and just happy to be here. Munoz, playing the back nine first, got off to a hot start when she played her first 10 holes at 4-under with birdies on 12, 14, 18 and one. Munoz tripped to her lone bogey of the day on No. 4, but she responded with a hot finish. The 27-year-old made a birdie on No. 4 before a trio of pars from No. 5. Munoz then drained birdies on her last two holes at eight and nine to finish at 6- under. I hit lots of fairways, and when I missed it I missed it by about a yard so I was always pretty good, Munoz said. I hit my irons really well. I think I hit 17 greens … So I gave myself a lot of opportunities and I made them, too, so I rolled the ball pretty good. NOTES: The Coates Golf Championship is a new event on the LPGA Tour … Tiffany Joh, Marina Alex and Mallory Blackwelder are through 15 holes and they were the furthest from finishing their rounds Wednesday … Round one will resume at 7:30 a.m. ET Thursday, with round two beginning at the same time as scheduled … Line Vedel (back) and Sarah Kemp (illness) both withdrew during their first rounds. Wholesale Jerseys ‘ ‘ ‘

November 3, 2016

zapatillas puma mujer outlet españa

En el caso de que utilice un montón de zapatos de tenis, comprarlos procedentes de un gran minorista de artículos de fitness que da artículos con zapatos adidas deportes a la venta respecto a las adquisiciones. Este tipo de le ayudará a adquirir artículos para sus zapatos de correr que obtiene y también normalmente este tipo de artículos se convierten en dinero de vuelta en su propia posterior obtener. Esa es una manera poderosa de gastar menos en sus propios zapatos para correr.

Por lo general, no use bombas de tacón alto todo el día todos los días. En el caso de que usted necesita para usarlos, mantener el momento en que se puede vestir desde lo más rápido posible. Sporting tacones altos establece una gran cantidad de tensión alrededor de las pelotas de tenis de los dedos de uno y también esto puede causar un montón de problemas individuales en el futuro previsible. Traiga junto a apartamentos para intercambiarlos cuando note traje.

En cuanto a los mejores resultados finales, la pregunta de cualquier almacén de arranque se refieren a ser capaces de determinar los pies .. Este tipo de forma de medición puede ayudar a proporcionarle las dimensiones adecuadas de arranque en cualquier momento la adquisición de zapatos frescos. Incluso puede utilizar estos detalles para aprender en el caso de que usted solicite un filtro o tal vez extensa zapatillas. Muchas personas no entienden lo crucial que estos registros serán en cualquier momento obtener zapatos corrientes.

Utilice zapatos seguros para correr. Los zapatos corrientes y los dedos de los pies también son cruciales. Es posible lastimar los pies cuando tienes zapatos de correr en los que da?an los pies. Podría ser enormes problemas momento en el futuro previsible, por lo tanto, constantemente tienen las dimensiones adecuadas y también sentido para satisfacer sus necesidades.

Fantásticos zapatos de correr necesitan sentirse seguros de inmediato. En el caso de que use un par de zapatos de correr y también el sentido de que van a necesitará varios break-in momento, usted debería conservar la compra. La división de zapatillas de deporte frescas en el interior puede ser agonizante y también le hacen producir problemas de los dedos de los pies.

En caso de que usted está buscando para correr zapatos junto con sus jóvenes, han conseguido sus dedos específicos evaluados. Los dedos de los ni?os pueden adidas originals mujer baratas españa aumentar fácilmente rápidamente y pueden ser evaluados una o más veces cada 90 días. Tenga en cuenta que sus jóvenes probablemente superará rápidamente los zapatos de funcionamiento en particular que obtiene estos en cualquier momento la selección de cualquier cubierta de los ni?os corriendo zapatos.

Usted encontrará considerables ahorros financieros sobre los zapatos corrientes en la web. Existen numerosos sitios que ofrecen envío y entrega totalmente gratuitos y también administración. En los minoristas de arranque web no es necesario para sostener un gran empleados, Como resultado, podrían completar los ahorros financieros particulares sobre el comprador. Cada vez que compra en la web, asegúrese de que el propietario del producto en particular presenta el nivel de defensa de la privacidad.

Adquirir cerca de cualquier ingreso se relacionan. En caso de que no está seguro del lugar para empezar a buscar o tal vez lo que le gustaría, a continuación, hablar acerca de las medidas, traje, y también quiere utilizar una relación de ingresos puede ayudar a creer que es más rápido. Que puede ayudarle a localizar las dimensiones de la otra en la que coincide con su presupuesto. Si se familiarizan con un derecho individual después de numerosas excursiones de compra, también podría informar a uno de los ingresos próximos y también descuentos especiales.

Tome en cuenta entrar en desafíos con los minoristas del cargador del barrio. Simplemente por entrar en desafíos simplemente más compactos, es probable que sea mucho mejor con rentable. Si usted se encuentra rentable algo especial tarjeta de crédito o tal vez conjunto de calzado, es posible ayudar a ahorrar una enorme cantidad de fondos. Aunque usted no puede adquirir, no menos de lo que debería tener entretenido entrando en los desafíos particulares!

En el caso de raspar la pedicura una vez que la etapa fuera de la ba?era aún no tendría suficiente tiempo para corregir que justo antes de maniobrar para realizar, simplemente usar cualquier bomba de agua cerca de punta o talón talón. Al igual que, usted ha mantenido el dulce particular parece desde el arranque, así como la lesión se mantiene invisible de ver.

Realmente es correcto en que prácticamente nada le ofrece mucho más satisfacción un gran número de zapatillas. Sin embargo, para llegar al período,zbaratass365-es usted debe descubrir cómo ir de compras y también donde encontrar buenas ofertas. Este artículo informativo le ofrece los datos que debe permitirle junto con su surtido de arranque de artista. Conserve estas directrices fácilmente disponibles cuando desarrolle un gran surtido envidiable.

July 7, 2015

Jef Bourgeau, Zombie On the Wall at Galerie Camille, Detroit

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Jef Bourgeau, Zombie On the Wall at Galerie Camille, Detroit — thru 11-July-2015

Jef Bourgeau possesses the rare ability–and discipline–to see and sense everything at once. To capture a snapshot of a thing in his mind that retains the essence of its revelation. Narrowing his gaze, he zooms in–not for clarity but for a deeper view of the near-infinity of detail swirling below the surface of what the rest of us call solid reality. Bourgeau knows better, knows that what we perceive persists only in flux, perpetual change, perpetual motion. And all of it–everything we perceive afresh and everything we remember–surfaces, descends, resurfaces in our consciousness through subjective filters, a little different every time we sense or recollect. Bourgeau–either gifted or cursed depending on circumstance–possesses that elusive capacity to feel as he sees rather than feel after he sees, and see through the layered fluttering veils of sensory noise that obfuscate perception.

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The pictures up at Galerie Camille in Bourgeau’s solo show, “Zombie On the Wall” (12-June through 11-July-2015) all reflect abiding attention to process as much as to perception. Bourgeau does not screw around. These pictures are not experiments. The experiments remain back in lab. These pictures come masterfully crafted. And finished. They range back in time five or ten years and they vary in style but all are digitally manipulated prints–blurred, fragmented, reassembled and tidied up through digital means. Bourgeau was a forerunner in digital image creation and enhancement methods and he continues to apply them more with the grace of brushstrokes than mapped pixels.

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Bourgeau cites Van Gogh as early inspiration, but seems to admire and reference numerous notable members of the 20th century artistic timeline. Engage Bourgeau in conversation and he pulls specimens from his collection, from narrow clefts of art historical context racked away in his mind, and delights the interlocutor with detailed and pointed narratives that illuminate Bourgeau’s observations. When the time comes to work, his left-brain organizes and archives art history for referential access, but his right-brain charges into the carefully organized collection and kicks the books and images fluttering to the floor to coalesce and self-ignite into an intoxicating bonfire of ideas.

Standing before the pictures at Gallerie Camille, you feel good. You feel energized. You feel invigorated like you just drank one of those energy drinks laced with caffeine and the regenerative vitamins B. But you also feel a bit as though the extraterrestrial who made these pictures and brought you here to see them might be doing more than making you feel good. He might be probing you, provoking you, goading you to react. He doesn’t care how you react, only if you react. Are you still alive? Who’s the zombie now?

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Go ahead and react. Go ahead and feel good. Let the pictures probe you. No one’s looking.

The patterns in these pictures are abstract, some fluid, some geometric, all graceful, all suggestive of a world in motion. A world where mass tangibly does equal energy, a whole heap of it: (E=mc2). It’s one thing to know about physics, it’s another to know physics. Gaze into these works and you will know.

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Pay attention. You can detect the artistic timeline informing Bourgeau. Van Gogh is there in the palette as well as the wondrous distillation of reality; Matisse, Derain, Leger, Picasso in the patterns and light and fragmentation of perception; Seurat, Lichtenstein, Chuck Close in the digital atomization that trademarks Bourgeau’s work. Meaningless comparisons all except to say that the work of a well-informed artist can not conceal the phantasms of preceding works that haunt their own. If you live with your eyes and mind open, you personify the continuum you inhabit. That suffused awareness in turn lends your work deeper subconscious resonance with viewers. Think of that tremulous feeling that saturates your senses when you step into a room continuously inhabited for a thousand years. Phantasms dance just out of sight and you know it. The same holds with great art created by well-informed artists enveloped, engrossed… inhabited but not co-opted by the art of others.

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Bourgeau’s images suggest, without crass mimicry, structures we witness daily but take for granted and breeze past too quickly for our own good. Cellular structure in a story about influenza maybe; or patterns in agriculture dictated by geography, geology, and hydrology; patterns woven into textiles or etched and embossed in architectural material; coral reefs and gravity-free sea creatures. Faces distorted by reflecting water. Things we trip over daily but miss for their familiarity. Shame. See these things afresh; see them with a child’s eyes. Awestruck reverence for this world will overtake you.

And that defines Bourgeau’s gift, the wellspring of his self-taxing generosity: to see afresh. To see what we always have seen but hardly registered: truth and beauty.

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Please have a look at our site, artifizz.org, and check out our other reviews.

And don’t forget to like our facebook page

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October 17, 2014

Elements of Whimsy: Adnan Charara at N’Namdi

N'Namdi

Elements of Whimsy: Adnan Charara
N’Namdi Center for Contemporary Art,
Black Box Gallery

by Jim Welke

 

Elements of Whimsy: Adnan Charara

N’Namdi Center for Contemporary Art, Black Box Gallery

thru 25-October-2014

Adnan Charara brings a sly sense of humor to his work. He paints, does collage, and creates sculpture from found objects. Found or not, nearly all of the works in this exhibition possess elements inherently in conflict, while to the eye they maintain aesthetic harmony. Conflict creates dramatic tension, imposes a narrative arc, but in Charara’s work it brings the funny too. In this show, the work projects wry humor. That’s the hook to bring you closer.

Picture a rusty washing machine standing in a yard beside a house. In the background, a sun-dappled meadow sprawls languorously. Beyond, snow-capped peaks press against a drape of cobalt sky. If the house were small and decrepit, your thoughts at the sight of the washing machine go in a specific direction. If the house were a well-maintained, super-sized McMansion your thoughts trend in a different direction.

Paint either of these scenes and satire emerges; a philosophical observation manifests. The painter nails down her point of view not only of the washing machine, but also of the world and its human folly.

If the painter painted either of these scenes without the washing machine, she would express elements of her philosophy, but missing the dramatic tension, or at least expressing much less.

Laughter might be a first impulse on sighting artwork built around rusting refuse. But the thoughtful witness sees more. The laughter subsides and a vague melancholia sets in. Thoughts depart the scene and progress to the larger world and society with all of the contradictions, insults, and disappointments therein.

Adnan Charara

Give Me A Chance I Will Grow
Adnan Charara
Found objects

Charara’s work draws you into his tunnel of love; then before comfort and complacency set in, shoves you back out into that harsher, colder world. But it’s a joyful world, too. Only the joy does not spread as evenly as it could… as it should.

That seems to be the existential contradiction that troubles and impels Charara: the uneven allocation of security and prosperity. To this viewer, his work in the N’Namdi show declares, “This is no meritocracy we inhabit. Men clownish and petty hold the power in this world. Suffer fools at your peril.” And the fools we suffer have no sense of their own foolishness. Charara presents several images of self-satisfied, pompous phonies decorated with the signs and symbols of status; of position gained through felonious duplicity.

Those signs and symbols, burned into our media-saturated brains, set off conditioned responses; even sub-conscious sparks. That’s how advertising works its magic, and it’s how Charara’s images work, as did those of his collage-making predecessors Picasso, Duchamp, Schwitter. Charara’s sculptures telegraph hidden messages too, but a bit more subdued; less freighted.

Adnan Charara

The Velvet Man
Adnan Charara
Acrylic and oil on canvas

Adnan Charara

Standoff
Adnan Charara
Acrylic on canvas

At first glance, the figures in the work at N’Namdi merely seem clownish, fanciful, but as conditioned responses kick in–unless you feel nothing but admiration for those who clothe themselves in status symbols–you soon feel an ineffable sense of unease, sort of like meeting a guy in a fancy bespoke suit, fourteen-karat cuff links, and a ten pound Rolex. He speaks, and malapropisms sneak into every sentence–you realize immediately this is a privileged and insecure charlatan with a potent sense of entitlement and a shriveled sense of humility.

Charara does not parody wealth, he parodies those who will do anything to obtain it and then happily misdirect it; who value lucre above all else and churlishly deny it to others more deserving. Look at louche “Colonial Man” with his monogrammed cigar-like nose; or “Masquerade” with the elegant pocket watch of privilege beside George Washington torn from the dollar bill–the most potent symbol of acquisitiveness on the planet–and those ears from a bisected violin suggestive of patronage and noblesse oblige; or the fat cigars, bottle of Madere Cuvee (reminiscent of Picasso’s bottle of Suze), and dueling pistols in “Standoff” like a scene extracted from a repressed, liquor drenched Victorian sitting room; the diamond-studded, pistol-poised, sartorial splendor of “Velvet Man;” or the ‘Prince of Savoy’ headline in “Open Minded Man.” Open minded indeed. Mais, bien au contraire.

Adnan Charara

Colonial Man
Adnan Charara
Acrylic on canvas

Adnan Charara

My American Gothic
Adnan Charara
Found Objects

Charara by no means appears a one-trick-pony. His talent ranges wide through various media and stylistic forms. All of the paintings described above precisely mimic smaller-scale collage executed with such exacting precision a chill runs down your spine to contemplate it. Those collage stood as muses for the larger paintings, but demand attention on their own. Seen together with the paintings, you witness evolution of one man’s art-making process. Not to mention an ardent expression of devotion to the creative journey. Charara makes pure abstracts too–including painting, sculpture, and collage–more enigmatic compared to the work up in N’Namdi, but no less engaging. His abstract work conveys a joyous infatuation with the charms of earthly existence and all the material temptation those charms elicit. The abstracts percolate atavistic, nebulous color and boiling motion. The small sculptures exhibited in this show animate with the effervescence of Charara’s blessed infatuation; they never succumb to static speechlessness. His work never offers mute testimony, it runs more toward loquacious, but in the best way possible.

“My American Gothic” quotes Grant Wood’s “American Gothic” with a diminutive, three-dimensional, dark-skinned couple. The man grips a dinner fork in place of the pitchfork in the painting. There’s the funny. But the title might play on the term Gothic–as in Southern Gothic. This association, along with the complexion of the figures, leads you to recall that slaves created much of the prosperity in the early days of the United States and laid the foundation for its future. And in these latter days, this nation’s wealth–apportioned with top-heavy avarice–emanates from the toil of corporate wage-slaves no less indentured to their masters (claims to the contrary by the fatuous rich guy flashing his ten-pound Rolex notwithstanding).

Adnan Charara

Masquerade (detail)
Adnan Charara
acrylic and oil on canvas

Adnan Charara’s work encompasses historical, art historical, and social relevance. His work operates with subtlety, and surely allows for deeper and different interpretation than that given here. But to this writer, he offers the gifts of a jester. And remember the jester speaks truth to power, and shadows with wit insights harboring potential to demolish empires. Watch as prosperous collectors flock to his work for both its aesthetic grace and to demonstrate savoir faire and the impervious armor of affluence. Ain’t life grand?

Get out to see this show, and the rest of the work up at N’Namdi before it comes down on 25-October.

 

Please have a look at our site, artifizz.org, and check out our other reviews.

And don’t forget to like our facebook page

Adnan Charara

Collage
Adnan Charara

Collage Adnan Charara

Collage
Adnan Charara

Adnan Charara

Standoff
Adnan Charara
Acrylic on canvas

Adnan Charara

The Velvet Man (detail)
Adnan Charara
Acrylic and oil on canvas

Adnan Charara

Colonial Man (detail)
Adnan Charara
acrylic on canvas

 

September 4, 2014

Gao Brothers DISSIDENTS ABROAD at Detroit MONA

By Jim Welke

Gao Brothers DISSIDENTS ABROAD at Detroit MONA
Opens: 13-September-2014
Reception with the artists: 6-10pm
Midtown MONA, Suite C
4130 Cass Avenue Detroit MI 48201

MONA FUNDRAISER, Friday, September 12
Meet the Artists @ Fundraising Reception: 6-9pm
$50 Donation – Support MONA programming for the coming year… meet the Gao Brothers… with wine and hors d’oeuvres… and a  chance at a signed exhibition catalog.

 

For those of us who witnessed the Tiananmen Square protests of 1989 from a dozen time zones away–give or take–and with information incoming via the fledgling cable news service, CNN, the scenes at hand compelled interest and enervated at the same time. Beginning in April 1989, the events un-spooled in slow motion, with commercial interruptions and misinformation forwarded and corrected as reporters fed us raw data followed up by fact checking. At first, the motivation for the mass protests at the heart of the Chinese power center eluded reporters, and with facts out of reach, they offered on-air speculation–a new concept suggestive of Hunter S. Thompson’s Gonzo Journalism. Reporters lived the story they reported; myopia and biases induced by the flow of real-time impressions colored it. Such coverage violated every code of broadcast journalism nurtured by guys like Edward R Murrow, Walter Cronkite, and during the Tiananmen Uprising, Bernard Shaw at CNN. Tiananmen revealed not only the depth of opposition to oppression by the Chinese government, but revealed too the fallibility of that government; that any government could be shaken off balance. According to a story on CNN’s site by Mike Chinoy, the Beijing bureau chief at the time, “How covering June 4 Tiananmen Square crackdown kicked off ‘CNN Effect’,” the students and activists in Beijing tore away the veil of diplomatic subterfuge that once sheltered every government from direct exposure to daylight:

The protests generated unparalleled international coverage, and became a defining moment in the Information Age. It was the first time a popular uprising in an authoritarian state was broadcast live across the globe.

According to Bernard Shaw, who anchored CNN’s live round-the-clock coverage from Beijing for much of the crisis: “You could say that that was the beginning of the ‘CNN effect’” — the idea, which became widespread after Tiananmen Square, that the immediacy of live TV news available 24 hours a day played a crucial role in influencing the behavior of key players during major crises.

Prior to the birth of the Tiananmen protest in April 1989, and its sudden demise at the hands of troops on 4 June, the Gao Brothers, Zhen and Qiang, born 1956 and 1962, began their ongoing critique of government-induced social injustice with their debut in a group show at the National Art Museum of China (NAMOC) called “China/Avante-Garde.” The show opened on 5 February 1989 after “three months of intense preparation” and meticulous vetting by Communist Party apparatchiks. A wiki page on the ArtSpeakChina.org site describes it:

The historical import of the event, clearly perceived by the participants, did not just derive from the nature of the works on display but also from the association of such extreme art with that museum. The China Art Gallery–a Sinified socialist-style building managed by the Chinese Artists Association and, at the time, only a few steps from the Ministry of Culture–functions as China’s national museum of modern art. For the first time ever, authorities were allowing a prominent exhibition that openly broke with the fundamental principles of artistic creation laid down since the beginning of the People’s Republic.

The exhibition assembled many of the artists who had been a significant driving force behind art in China since 1985. By allowing the artists and their works to cross the threshold of the most important official art hall in the country, the exhibition conferred on these artists a kind of officialdom. The show’s alternate title, “No U-Turn” was reflected by the “No U-Turn” traffic signs hung as banners and emblazoned on floor mats.

 

85 movement-uturn

 photo: artzinechina.com

Three hours after “No U-Turn” (as the artists called it) opened, government bureaucrats shut it down. And then it re-opened. And then it was shut down again. And re-opened. And shut down.

Needless to say, the conversation between party functionaries and bilious, long-stifled artists percolates with vigorous intensity at times. But the show marked the culmination of the “85 New Wave Movement” and offered an alternative to the ubiquitous Social Realism fostered and infused with propaganda by the Communist Party. According to ArtSpeakChina.org:

Between 1985 and 1990, a group of over one thousand young Chinese artists living in an environment without galleries, museums, or any systematic support for art and with unprecedented enthusiasm and passion, led a globally influential artistic movement. It marked the end of a monolithic artistic model in China, achieving unprecedented individualism and opening a path for Chinese art to march toward internationalization and contemporaneity.

Most groups from the urban areas were in favour of a conceptual approach, regardless of the kind of media employed. The two major conceptual approaches adopted were Rationalistic Painting, represented by the artworks and writings of the Northern Artists Group from Harbin, the Red Brigade from Nanjing, and the Pond Society from Hangzhou; and the Zen-Dada-like conceptual art, epitomized by the Xiamen Dada Group from Fujian and the Red Humour from Hangzhou. On the contrary, art groups located in the northwest and southwest–areas still overwhelmingly based on traditional peasant lifestyle and home of most of the ethnic minorities–were interested in a frank expression of their intuitive feelings and favoured “primitive” themes. The term “currents of life” was used to define their approach. Among these groups, the most influential was the Southwest Art Research Group, consisting of artists mostly from Yunnan and Sichuan provinces.

Raised in Jinan in Shandong province, Zhen attended the Shandong Academy of Fine Arts. Qiang attended Qufu Normal University. Geographically the brothers originated near the midpoint between Hangzhou to the south and Beijing to the north, between the focal points of prevailing art philosophies. During their formative years perhaps their position at this fulcrum alleviated pressure on them to blend in with either end of the geographic and philosophical spectrum. Wherever their coordinates on the sketch of the Chinese art milieu, their debut in Beijing propelled their careers and further affixed these men in collaborative symbiosis. Now, they live and work in Beijing, with studios in the retired military industrial center, the 798 Art Zone, part of the larger Dashanzi Art District.

Their art suggests a worldly, outward sensibility as opposed to inward self-regard. Often they address social injustice. They seem troubled by the inevitable alienation that infects swarms of naïve migrants from small towns and farms to swelling urban metropolises in China and elsewhere. But their work also suggests a wry, ironic view of human existential angst and ennui. The gentle humor in their work often seems overlooked. Their work might be wisely circumspect, but witty all the same. They seem to say that laughter follows inevitable tears like moon and stars follow a thunderstorm.

The brothers also venture into the unknown with exploration of nearly every available medium. They turn out fiberglass and bronze sculpture with equally deft precision. Their reflective chrome sculptures pull the viewer in with self-made reflections, while bronze suggests solemnity and gravity. They do printing and photography. Their photographs often affix human forms in unforgiving, even merciless un-human surroundings. Their map of China comprised of clippings of a beehive populated with humans scaled to fit the cells of the honeycomb invites uncomfortable insights and comparisons. They paint. And they write books.

Frequently, the brothers bring nude human forms into their work. This challenges established law as well as established sensibilities. The nudes do not recline demurely. They drop into landscapes that would naturally proscribe nudity. Subjects find themselves naked in concrete clefts or cavernous halls or shoehorned into wooden compartments. These images shake us up; shatter our complacency. They force us to ponder our imponderable insignificance in a universe if not infinite in time and dimension, then close enough to provoke acute angst. And that’s our lot, our reason for being with our opposable thumbs, self-awareness, and free will: to create in the face of engulfing nothingness and laugh at the spectacle of it. The brothers do this.

Compare the spirit and philosophy that leads the Gao Brothers to such varied art-making to the spirit and philosophy of early adventurers who set out it in fragile sailing ships on journeys of discovery motivated by far more worthy goals than material gain: they sought knowledge, enlightenment, and the opportunity to change the world for the better. Usually none of those things resulted, but the inspiration the rest of us derive from these efforts are reward and justification enough for at least tempered admiration. The difference is that artists set out on adventures that generally do no permanent damage like that done by men in sailing ships. Admiration for artists need not be tempered by guilt. They toss gifts at our feet. How we profit from art is up to us.

GaoBrothers--Midnight Mass

Midnight Mass, 1989

(from debut group show, China/Avante-Garde)

photo: artworldnow.com

Gao-Brothers-Road-to-Dawn-n°1-2001-93x150cm-ed.5-sur-10

Gao Brothers, Road to Dawn n°1, 2001, 93x150cm, ed.5 of 10

photo: Galerie Albert Benamou

Gao-Brothers-Beyond-Zebra-Crassing-2000-83x100-5-sur-10

Gao Brothers, Beyond Zebra Crassing, 2000, 83×100, ed.5 of 10

photo: Galerie Albert Benamou

GaoBrothers_Ghost-Image-The-Raft-of-the-Medusa-Tiananmen-Square-Protests-of-1989.-oil-on-canvas.-300x400cm-560x420

Ghost Image – The Raft of the Medusa & Tiananmen Square Protests of 1989. Oil on canvas, 300x400cm, 2011

photo: guernicamag.com

For a while, the brothers embraced Mao Zedong as muse. Their father died while briefly detained by Mao’s party apparatus during the Cultural Revolution. Undoubtedly this, along with the awareness that millions of others suffered similar humiliation, torture, impoverishment, and death at the hands of double-speaking minions of Mao Zedong affected their worldview. Art offered the Gao Brothers an eloquent voice; a means to comment, even criticize, while maintaining plausible deniability–as American government fixers call it–of outright dissent. Their images and sculptures of Mao depict him either in maudlin caricature, or straight on in compromising positions. In either case, the figures speak of a fragile man with an iron will who saw the world in only two shades, and fellow citizens as either acolyte or enemy. They imply a warning of caution when choosing leaders since no matter their charisma, they remain troubled humans subject to petty human appetites.

GaoBrothers--Miss-Mao-No.2--570x420

Miss Mao No.2. Painted fiberglass sculpture, 210x128x125cm, 2006

photo: guernicamag.com

GaoBrothers--The-Execution-of-Christ-.2009-594x420

The Execution of Christ. Bronze sculpture, life-size, 2009

photo: guernicamag.com

The “Execution of Christ,” in bronze, a departure from previous fiberglass, was originally intended to feature Lin Zhao (b.1932-d.1968), a persistent and persecuted Chinese activist who converted to Christianity and was later executed after repeated refusals to disavow her dissent. The Gao Brothers chose instead to portray Christ. They did so to make the sculpture more accessible, or as they put it in an interview (http://kcur.org/post/interview-artists-gao-brothers-part-2), “If we used Lin Zhao, people would be more puzzled, and the work would require more explanation.” This implies a certain savvy, not necessarily commercial, but an awareness of their audience both in China and over the border China. The sculpture also reveals the brothers’ art historical roots: the poses closely parallel Edouard Manet’s “The Execution of Emperor Maximilian.” That painting depicts Maximilian, a puppet installed as emperor of Mexico by Napoleon III, as he is executed in 1867 by forces loyal to the deposed president who presided over an incipient democratic republic. In a way, the painting is the inverse of the Gao Brothers’ sculpture in that it depicts the meek taking control of the establishment, not the other way around. Similar to the single abstaining sergeant off to the side in Manet’s picture, one of the seven Mao figures in the sculpture installation holds his rifle in abeyance–he does not fire at Christ (yet nor does he prevent his other manifestations from firing).

Manet--800px-Edouard_Manet_022

The Execution of Emperor Maximilian, Edouard Manet, 1867-1869

Numerous exhibitions have honored the Gao Brothers since 1989, most recently at the Kemper Museum in Kansas City Missouri, and at the Hua Gallery in London. The Hua Gallery show presented new work by the brothers, almost exclusively photography. With one exception: a bit of their memorable performance art. The tradition of such performances began with a group embrace in their hometown of Jinan:

On 10th September 2000 we brought more than 150 volunteers, mostly strangers, to the suburbs of Jinan. Getting them to embrace was really difficult; in China, hugging is not a common habit, it is generally considered as a western custom or an intimate action between lovers.

At midnight in the square some policemen started to suspect us and came over to investigate, but we explained what we were doing and we invited them to get involved and eventually they took part in it. Fortunately they understood us clearly, in Beijing this would be unimaginable. It seems that regardless of one’s profession everybody can communicate with each other. As long as one does not consider himself a machine or a tool, art is open to people. …

Their performance work evokes the indisputable intention to shatter artificial boundaries, and evaporate the sense of alienation that plagues modern humans detached from former tight familial kinship and clans. The performances also appear to be fun, warm, enlightening moments for the participants. They literally embrace their audience, and become happenings in the truest sense. That’s a bonus of art we so often forget. It’s not all blood and guts. Sometimes art just wants to be happy. The brothers work hard to bring the happy along with enlightenment and we passive observers should be grateful–and less passive.

 

Read our interview with the Gao Brothers here.

Please have a look at our site, artifizz.org, and check out our other reviews.

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May 16, 2014

Jackie Rines and Hamilton Poe at North End Studios–Detroit

by Jim Welke

Jackie Rines and Hamilton Poe at North End Studios 15-May-2014

Jackie Rines and Hamilton Poe at North End Studios 15-May-2014

North End Studios opened a show on 15-May-2014 with work by Hamilton Poe and Jackie Rines. A print and a sculpture, both over twenty five feet long, spool across the gallery to anchor the show. The print, by Mr. Hamilton, presents a horizontally stretched version of one of his black and white pencil drawings. Possibly he came on this idea while sharing studio space with Ms. Rines at Bagley-Parks Studios where he undoubtedly observed the laterally extended sculpture she assembled there (in six sections–the whole would not fit in the studio). Both the extended drawing and the serpentine sculpture offer an unreeling narrative bursting with existential impressions and leftover detritus of acquisition. In Ms. Rines case, the existential leftovers were not metaphorical–she departs soon for UCLA in pursuit of an MFA and found her studio space overflowing with collected objects as yet unused and needing to be dispatched. Faced with the pressure of limited disposal options she dug in, found inspiration, and assembled a magnificent and joyous mobile artwork.

sculpture by Jackie Rines at North End Studios 15-May-2014

sculpture by Jackie Rines at North End Studios 15-May-2014

In his drawings, Mr. Hamilton does not collect physical objects, but he does seem to collect imagery. A rare sort of athlete, he ventures out on self-made challenges to his endurance such as long bicycle rides that include a six-week trek out to California as well as day trips around Detroit. In fact, according to his bio at infinitemile, cycling comprises his sole means of locomotion aside from walking. As he mentioned, imagery forms in his mind during these tests of endurance and the drawings offer a means of expressing and preserving these spontaneous inspirations blown into his being by hovering muses unseen. Figures and forms tumble across the paper sheets that contain them, rein them in, but offer a landscape where they form their own self-sustaining ecosystem.

horizontally stretched print of a drawing by Hamilton Poe at North End Studios 15-May-2014

horizontally stretched print of a drawing by Hamilton Poe at North End Studios 15-May-2014

Hamilton Poe

Hamilton Poe

 

horizontally stretched print of a drawing by Hamilton Poe at North End Studios 15-May-2014

drawing by Hamilton Poe at North End Studios 15-May-2014

horizontally stretched print of a drawing by Hamilton Poe at North End Studios 15-May-2014

drawing by Hamilton Poe at North End Studios 15-May-2014

Ms. Rines does most of her work in ceramics, so the sculpture here at North End Studios represents a departure. According to a statement on her website, “The work is always about personal and cultural circumstances with which I feel dissatisfied or unresolved. I use humor to cope with this lack of resolution and find a greater place of understanding with my audience.” You feel that understanding and humor in this expansive sculpture formed of lath, chicken wire, fabric, and tchotchkes too varied and numerous to mention. We all share some propensity to collect the stuff of consumerist culture, and equally share the need to periodically purge ourselves of it. Suspended by a single cable attached to the ceiling, the work tips and rotates at the merest touch and to a viewer in proximity, the motion of the sculpture transfers into apparent motion of the room–as though the room rotates and tips as the cirrus-shaped assembly holds stationary. A cat inhabits the gallery, and during the event, found his way into the sculpture, upset the balance and imposed unexpected motion–the artwork incorporated the cat with grace, tipping and creaking slowly as though digesting the animal. The cat emerged unscathed.

sculpture by Jackie Rines at North End Studios 15-May-2014

sculpture by Jackie Rines at North End Studios 15-May-2014

sculpture by Jackie Rines at North End Studios 15-May-2014

sculpture by Jackie Rines (right) at North End Studios 15-May-2014

Mr. Poe does other work besides drawings. In fact, he does not typically display his drawings in galleries. He does some vexing and inspired installations, of which you can catch a glimpse on his site. One, “Balloons” will enchant you with its simple and wondrous elucidation of natural forces (have a look). Perhaps the drawings may be thought of like the notebooks of Da Vinci–raw materials mined from imagination.

The show, Jackie Rines and Hamilton Poe, at North End Studios, captures the spirit of art-making in Detroit–fluid, vibrant, spontaneous–sort of like those self-assembling molecules that instigated life from protean muck billions of years ago and yield ineffable beauty all around us. Catch these works while they are still up (closing date unknown), and visit a Detroit gallery with very-Detroit architectural chops.

drawing by Hamilton Poe at North End Studios 15-May-2014

drawing by Hamilton Poe at North End Studios 15-May-2014

drawing by Hamilton Poe at North End Studios 15-May-2014

drawing by Hamilton Poe at North End Studios 15-May-2014

drawing by Hamilton Poe at North End Studios 15-May-2014

drawing by Hamilton Poe at North End Studios 15-May-2014

drawing by Hamilton Poe at North End Studios 15-May-2014

drawing by Hamilton Poe at North End Studios 15-May-2014

sculpture by Jackie Rines at North End Studios 15-May-2014

sculpture by Jackie Rines at North End Studios 15-May-2014

sculpture by Jackie Rines at North End Studios 15-May-2014

sculpture by Jackie Rines at North End Studios 15-May-2014

sculpture by Jackie Rines at North End Studios 15-May-2014

sculpture by Jackie Rines at North End Studios 15-May-2014

drawing by Hamilton Poe at North End Studios 15-May-2014

drawing by Hamilton Poe at North End Studios 15-May-2014

drawing by Hamilton Poe at North End Studios 15-May-2014

drawing by Hamilton Poe at North End Studios 15-May-2014

 

drawing by Hamilton Poe at North End Studios 15-May-2014

drawing by Hamilton Poe at North End Studios 15-May-2014

collected words by Hamilton Poe at North End Studios 15-May-2014

collected words by Hamilton Poe at North End Studios 15-May-2014

Please have a look at our site, artifizz.org, and check out our other reviews.

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February 28, 2014

UNBOUND: WSU MFA 2 Thesis Exhibition–Wayne State University–Detroit

by Jim Welke

UNBOUND: WSU MFA 2 Thesis Exhibition–Wayne State University–Detroit thru 7-Mar with work by: Laurie D’Alessandro, Kyle Dill, Ani Garabedian, and Hiroko Lancour

“Unbound” forms the theme for this master’s thesis show. Despite that thread running through, the personality and outlook of each artist indisputably surfaces — bound as it were to their masterful work. As you might expect from students about to receive a master of fine arts degree, they delivered with meticulous attention to detail. In the gallery, you can almost sense how taught such a high stake show must stretch out the nerves of the artist — the intensity therein warms you on entering.

Laurie D’Alessandro offers works with a distilled, ethereal, denatured quality. She teases the essential elements from everyday things, leaving behind a vaporous residue of the original object almost like holographic projections of their souls.

Laurie D’Alessandro

Brother’s Shirt / tarlatan, cotton thread, buttons / 2013 / Laurie D’Alessandro

Laurie D’Alessandro

Brother’s Shirt / tarlatan, cotton thread, buttons / 2013 / Laurie D’Alessandro

Laurie D’Alessandro

White Shirt Deconstructed / 2013 / tarlatan, cotton thread / Laurie D’Alessandro

Brother’s Shirt and White Shirt Deconstructed demonstrate this effect with startling clarity. The originals are there, but not there and you find yourself wondering what “there” really means.

Laurie D’Alessandro

Pine on Mulberry #2 (triptych) / graphite frottage on Mulberry paper / 2014 / Laurie D’Alessandro

Laurie D’Alessandro

Pine on Mulberry #2 (detail) / graphite frottage on Mulberry paper / 2014 / Laurie D’Alessandro

With a frottage triptych, Pine on Mulberry #2, Ms. D’Alessandro once again dissolves the source object to reveal its textural essence, its interface to our vision. The tree evaporates, but the impression of it persists.

Laurie D’Alessandro

Polar Ice Cap / fiber, scoring out on silk / 2012 / Laurie D’Alessandro

Laurie D’Alessandro

Polar Ice Cap / fiber, scoring out on silk / 2012 / Laurie D’Alessandro

In Polar Ice Cap, Ms. D’Alessandro plays with time as well as content. Using diaphanous silk, she represents phases of Arctic ice cap melting (either seasonally, or through years of irreversible global warming, the likelier explanation). This work departs from her previous pieces by visualizing for us something usually out of reach and out of mind (but not inconsequential). By abstracting the ice to ghostly overlays, she brings our focus to altered dimensions of the ice as time progresses through layered cloth. With inconceivably precise execution and eloquent selection of subject matter, Ms. D’Alessandro brings her viewer in touch with her unique vision of things we know of, but through familiarity (or possibly willful omission in the case of the ice) we no longer really see. She puts us back in the head of a child, seeing a world with layer upon layer of complexity revealed incrementally.

Kyle Dill also repositions everyday flotsam and jetsam to emphasize the elemental form that comprises it. Most of the works he presents refer to the ubiquitous packaging (specifically, cardboard boxes) we encounter like cocoons enveloping our consumer purchases. This packaging isolates and presents an obstacle to the thing we desire within — like gulls fishing for crabs we snatch up the package and burrow through the carapace for the meat inside, heedless of the exterior. But, Mr. Dill tosses out the precious insides, and hands us back the shell, re-worked and re-formulated so that we encounter it as a substantial creation in its own right. That’s not a trivial accomplishment considering our saturation in this stuff that represents nothing but friction in our existence. We want so much to ignore it, to dispatch it, to be done with it once and for all. But there it is, Mr. Dill seems to say. Look at it. Appreciate it. Even admire it.

Kyle Dill

Waffle Box / copper, wood, paint / 2014 / Kyle Dill

Kyle Dill

Easy Vender (Fridge Mate) / copper / 2013 / Kyle Dill

Kyle Dill

Lift to Open / drywall paint / 2014 / Kyle Dill

Kyle Dill

Lift to Open / drywall paint / 2014 / Kyle Dill

Starting with Waffle Box, Mr. Dill takes us through a progression from the effectively two-dimensional source material, flat and unfolded, to the nearly realized but still nascent Easy Vender, to the monumental and complete Lift to Open where he converts an entire wall into concealing refuse. With these works, and numerous others throughout the show, Mr. Dill brings both skill and vision to bear, and takes us on a journey inside the box… so to speak.

Hiroko Lancour

Tsunami 3-11-2011 / silkscreen on hand-dyed linen / 2012 / Hiroko Lancour

Hiroko Lancour

Tsunami 3-11-2011 (detail) / silkscreen on hand-dyed linen / 2012 / Hiroko Lancour

Tsunami, by Hiroko Lancour, signals what seems to be a persistent theme in her work — perception, or possibly misperception. She seems to toy with visual as well as emotional cues to force us to re-see the subjects of her work. Tsunami gives us an elegant linen print enlivened with delicate geometric patterns. But at the center of each swirl we find a date printed: 3.11.2011 — the day the tsunami hit northeastern Japan with devastating effects. Enjoy the pretty, but memorialize this day. Nothing comes without a price she seems to say.

Hiroko Lancour

Curved but Straight: Seeing With Detached Retinas 1 / acrylic on canvas / 2013 / Hiroko Lancour

With Curved but Straight: Seeing With Detached Retinas 1, Ms. Lancour gives us a view of uniform, equidistant squares that should form a graph-paper grid of geometric perfection — but don’t. The contrasting colors and outlines put the grid in topsy-turvy motion to induce an unnerving vertigo in the viewer. This picture, like all good op art, takes control of your optical sensory hardware — eyes and brain — and dissolves what you thought were immutable, Euclidean constants.

Hiroko Lancour

Chance Operations: Enso / Japanese Hosho paper, sumi ink, vermillion ink, vellum paper, pencil / 2014 / Hiroko Lancour

Hiroko Lancour

Chance Operations: Enso / Japanese Hosho paper, sumi ink, vermillion ink, vellum paper, pencil / 2014 / Hiroko Lancour

Chance Operations: Enso, according to an explanatory video that accompanies the work, takes its inspiration from John Cage and his use of chance (via the I Ching) to formulate music. Here, Ms. Lancour used dice to fix the color and orientation of her symbols. This work feels a bit less visceral and immediate than Ms. Lancour’s other work in the show. The adjacent charts and tables detach the viewer further from the visual impressions inherent in the prints. Still, this work offers a useful window into the sometimes arbitrary process of art making and for that, if no other reason, it is worth a close look. But there is another reason to look: the images offer Ellsworth Kelly-like simplicity of form and color, and possess esthetic quality that stands firm with no prior knowledge of the process. So take them both ways: process and picture; intellectual and emotional. (Gerhard Richter made interesting use of chance too, in his color chart paintings — the element of chance in art recurs.)

Ani Garabedian

Stripes / oil on canvas / 2013 / Ani Garabedian

Ani Garabedian

Stripes (detail) / oil on canvas / 2013 / Ani Garabedian

Ani Garabedian works with paint, or in her mixed-media work: colored pencil, oil pastel, graphite and charcoal. All of her work shows a kinetic quality, mindful of time flickering by; of light perpetually evolving and transforming the scene at hand. In her painting, usually figurative, her markings come soft and quick, with not a lot of thick layers to force a sense of depth. For depth she relies on light and shade, in seeming motion as you gaze into her work. Stripes feels like a good example of where she captures the intensity and fragility of the moment like a snapshot. Here and there thinned paint runs down the canvas, compelled by gravity to do its own thing — in the moment — unbound as the show theme suggests.

Ani Garabedian

The Beginning of a New Beginning (Hubbard Lake) / oil on canvas / 2014 / Ani Garabedian

The Beginning of a New Beginning (Hubbard Lake) evidences this seemingly rapid, documentary style further. In this work, fragmentary outlines hover adjacent to the subjects and imagery intersects; figures blur into the background. Light seems to move and shift. All this suggests haste in execution, but these works do not convey impatience so much as a meditation on the evanescent nature of our existence.

Ani Garabedian

Catamaran / mixed-media on paper / 2013 / Ani Garabedian

Ani Garabedian

Feed / mixed-media on paper / 2013 / Ani Garabedian

In Catamaran and Feed and other mixed-media works where paint and pencil merge, Ms. Garabedian further accentuates kineticism over realism and spatial accuracy. The figures in both these works focus on the business at hand. They do not pose for the artist. In fact, they seem indifferent to the artist; indifferent to portraiture vanity. These pictures exude liveliness, an unmoored vibrancy that leads the viewer to believe these scenes do change from one moment to the next. Blink your eye and you see the next frame on an endless reel. That reflects a masterful winnowing of detail and application of marks only where essential. One wonders with anticipation where Ms. Garabedian will take this already acutely evolved style.

In fact, one wonders where every artist in this show will take their crisply defined style. They went all out and embraced risk as a friend. The risk-taking paid off, it seems. Cheers and congratulations to the artists in both the MFA1 & MFA2 shows. Cheers too, for the instructors who find the right mix of support and objective criticism to keep their students on track, yet fearless. Right on!

 

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February 26, 2014

Lighting Fires at 555 Gallery and Studios in Detroit

by Jim Welke

Stefan Johnson

mural by Stefan Johnson

Lighting Fires at 555 Gallery and Studios in Detroit (2801 W Vernor Highway), an exhibition of work by First Nations artists Mike Bollerud (Blackfoot/Crow), Alexis Cahill (Odawa), and Candi Wesaw (Potawatomi) runs thru 1-March-2014. The show appears in collaboration with the Michigan Native Arts Collective.

The show description includes a cautionary note from the Prophecy of the Seven Fires related by Edward Benton-Banai, Grand Chief, Three Fires Midewiwin Lodge. It describes a series of “fires” that imply stages of enlightenment or awareness. With the seventh fire comes a big choice:

“… The seventh prophet that came to the people long ago was said to be different from the other prophets. He was young and had a strange light in his eyes. He said, “In the time of the Seventh Fire a Osh-ki-bi-ma-di-zeeg’ (New People) will emerge.  They will retrace their steps to find what was left by the trail. Their steps will take them to the elders who will have fallen asleep. They will awaken to this new time with nothing to offer. Some of the elders will be silent out of fear. Some of the elders will be silent because no one will ask anything of them. The New People will have to be careful in how they approach the elders. The task of the New People will not be easy. If the New People remain strong in their quest, the Waterdrum of the Midewiwin Lodge will again sound its voice. There will be a rebirth of the Anishinaabe Nation and a rekindling of old flames. The Sacred Fire will again be lit.

“It is at this time that the Light-Skinned Race will be given a choice between two roads. If they choose the right road, then the Seventh Fire will light the Eighth and Final Fire – an eternal Fire of peace, love, brotherhood and sisterhood. If the Light-Skinned Race makes the wrong choice of roads, then destruction which they brought with them in coming to this country will come back to them and cause much suffering and death to all the Earth’s people. …”

“If we natural people of the Earth could just wear the face of brotherhood, we might be able to deliver our society from the road to destruction.  Could we make the two roads that today represent two clashing world views come together to form that mighty nation?  Could a nation be formed that is guided by respect for all living things?”

Are we the New People of the Seventh Fire? (read more…)

Candi Wesaw

Ngotwatso Shkote / oil / 2014 / Candi Wesaw

A series of oil paintings painted this year by Candi Wesaw illustrate the above prophecy with warm, sunlight luminous images. These images, as a cohesive narrative, draw the viewer in. When you get close, two or three fill your field of view and they resolve like stills from a film. A sad film: sad for environmental and social injustice wrought by modern civilization. But the script need not end in tears. The notes that accompany the paintings state, “If enough people (of all colors and faiths) turn from materialism and choose the path of respect, wisdom, and spirituality, environmental and social catastrophes can be avoided.” Not empty rhetoric considering we find ourselves in the midst of the Sixth Mass Extinction, similar in scope to previous extinctions like the one that eradicated dinosaurs and nearly every other land creature. An asteroid induced that one; humans induced this one. More than 50% of species will likely be extinguished through our apparent indifference. The message here seems worth heeding, and it comes from a group that did a pretty good job as stewards of their resources for about twenty thousand years before Caucasians, capitalism, and a raft of infectious disease (think smallpox) hit the shores.

Candi Wesaw

Nish Shkote / oil / 2014 / Candi Wesaw

Candi Wesaw

Nyannen Shkote / oil / 2014 / Candi Wesaw

Alexis “Toast” Cahill

Enlightenment / photograph / 2014 / Alexis “Toast” Cahill

Alexis “Toast” Cahill offers a series of photographs all showing mushrooms. These pictures, after feeling a touch of melancholy induced by Ms. Wesaw’s work, bring a gentle antidote. (The reproductions shown here will not do them justice.) The titles include Enlightenment, Wisdom, and Acceptance. These fungi, in all their convoluted fragility and basset hound loveliness seem to represent metaphors for better-balanced, quieter states of mind. But they dovetail with Ms. Wesaw’s message, too. Mushrooms are delicate and fleeting, but vital members of the ecosystem. They hold court in Cahill’s photos in quiet testimony to their worthiness: the least among us deserve respect.

Alexis “Toast” Cahill

Acceptance / photograph / 2014 / Alexis “Toast” Cahill

Alexis “Toast” Cahill

Wisdom / photograph / 2014 / Alexis “Toast” Cahill

A series of delicate pencil drawings by Mike Bollerud offer inspirational imagery of men and women firmly planted in the landscape, imbued with an aura of fortitude, grace, and nobility. They also suggest wistfulness — at least to this writer — for a lost era when the subjects of these images might have felt an abiding confidence that their way of life would persist undisturbed; that they had mastered coexistence with the natural world; that the universe rendered itself, if not benign, then just — a world that would nurture if respected. A race of aliens shattered those notions.

But if you wonder, this writer does not view all aspects of First Nations culture with unadulterated admiration. That culture springs from humanity after all. Some of their former war practices warrant criticism. But people in glass houses should never throw stones, and this writer does not intend to. Many aspects of that culture merit honor and emulation, and modern civilization would do well to adopt some of their ancient practices related to social justice and environmental preservation.

Cheers to Stefan Johnson of the Michigan Native Arts Collective & 555 Gallery and Studios for curating Lighting Fires.

Mike Bollerud

One Winter’s Night / pencil on display board / 2012 / Mike Bollerud

Mike Bollerud

Faith / pencil on Yupo watercolor paper / 2014 / Mike Bollerud

Mike Bollerud

The Butterfly Maiden / pencil (print) / 2002 / Mike Bollerud

555 Gallery and Studios occupy an old police precinct. Inside you find a spacious gallery with expansive north facing windows. You also find a block of holding cells still decked out in steel bars. If these don’t send a chill down your spine, you should check your pulse. But now the cells function as micro studios and galleries. An eclectic array of artwork and craft adorns them.

Down another hall, you find an exhibition of photographs taken by children in the FOCUS: Hope Excel Photography Program sponsored by the Peck Foundation, Jenny Risher Photography, and the Detroit Institute of Arts. These pictures will knock you out. But first you might shed a tear or two. They’re worth the effort. See them.

555 Gallery and Studios do good things for art and the surrounding community (they just held a pop up used clothing sale). Swing by and show support.

Please have a look at our site, artifizz.org, and check out our other reviews.

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