CUT AND PASTE ZEN AT ZANZIBARS

Deb Anders-Bond, Zanzibars

March 2013

“Trees” by Deb Anders-Bond (image courtesy of the artist)

Review by Jon

Deb Anders-Bond is a collage maestro. From drawers and drawers of magazine snips, carefully chosen and archived, this wizard of the art of collage spins stories. For this showing at Zanzibars, the artist chose to hang exclusively digital collage work. Deb makes collages with narrative based imagery which are often infused with personal memories and inside jokes. Asking the artist about any one of the pieces yields a patient, and smiling account of the tales behind the work, and how the stories and careful selection of images were merged.

“Birds” by Deb Anders-Bond (image courtesy of the artist)

In “Birds” the artist is hearkening back to a childhood of wonder, color, and mystery. Many of the works evoke those feelings of childhood wonderment and play. The love of the matriarchs in the artist’s life are displayed in this piece, where a culture of reading and investigation of the natural world melded into a wonderful soup.

“Proved by the Highest Scientific Authority!” by Deborah Des Moines (image courtesy of the artist)

The image above has an almost fauvist sensibility in it’s color melange. The primary colors are all represented in strength and tertiary colors bind the piece together. One added bonus of this piece is in how it is presented and hung with brass holes in each corner and mounted on double-thick foam core, almost posing as a tongue-in-cheek nod to the circus posters of yesterday. An audacious claim in grammatically incorrect language travels around the border; the text serving to frame the work and supplying context for the spectacle taking place.

“In the grand spectacle of Charlemagne!” by Deb Anders-Bond(image courtesy of the artist)

The picture above seems to dwell in the land of twilight. We see the “lifer,” the entertainer, dwelling in the right handed portion of the composition. The face is skeletal, eyes hollowed; “The circus life aint easy,” could be tattooed across his chest. The totemic presence to the left of the composition relays a sense of separation between the performer and stage life which may allude to the consumptive nature of performance; the audience always demanding more of the spectacle and the spectacular.

I am struck by the fluidity of Deb’s collage work achieved by the computer. The digital realm allows for much freedom making the re-sizing of imagery and playing with text, color, and opacity much easier. The result yields a much more “painterly” use of space, where blending can supplant the hard edges and 100% opacity of traditional collage methods. I think it works for this artist in ways that the old exacto and glue stick can’t.

This show will be on display at Zanzibar’s coffee shop on Ingersoll Ave. and 28th through April 7th.

2 April 1 Permalink

Under Control and Measured

Tatiana Klusak’s Under Control, Fluxx Gallery

January 2013

Gallery view of “Hardworking Mechanism” and “The mustard lover’s mustard.” Photo Jon Pearson.

Review by Jon

January 10, 2013

In the sculpture and video work of Tatiana Klusak we are given the chance to confront questions relating to identity, work, and valuation measurement. The work is cerebral but deeply rooted in a physical manifestation of the concepts through the creation of devices whose purposes, though wholly relative to a need, are ridiculously unwieldy. The work affords us the opportunity to dialogue about our relationship with work, and  socially acceptable, or productive norms. 

The piece “Hardworking Mechanism” from the series “Forcing Devices” explores not only a societal need for production and the faceless worker to complete mundane tasks, but the restrictive and sometimes painful labor which is derivative of such practices. The piece was labeled with the notice to “please touch, handle with care,” so I strapped myself in. The immediate sensation of immobility as I did so was followed shortly by a testing of my limitations. I was able to make small jerky motions with my feet as the leg armatures were built to swivel and step, albeit slightly. I was also aware of the pieces of metal that I was strapped to digging into the backs of my legs as if they were ill suited to a person of my stature. The discomfort and sense of immobility that I experienced seemed to be a physical manifestation of the psychological discomfort I sometimes feel in carrying out my day to day tasks as a worker bee.

“Mustard cake” Photo Jon Pearson.

“The mustard lover’s mustard,” is another meditation on the mundanity of labor with a twist. In this piece Klusak is exploring the notion of being both the worker and the overseer. The artist is seen deliberately and measuredly portioning and subdividing slices of bread with a pair of scissors. From time to time the measurement of the labor is insinuated by referring to a stopwatch and penciling down results. The pieces are given squirts from a mustard container and eventually end up being pounded into a cake form. Apparently mustard makes great cake glue, as the cake is on display in the gallery as well. The tongue in cheek use of silly materials used in the creation of a silly product are balanced by the overall seriousness and intensity with which the worker/overseer produce the product.

“RFM (Rod For Measurement)” modeled by Isaac Ewart Photo Jon Pearson.

The “Rod For Measurement” Is coyly intended to be a tool with which a person can measure and compare traits in another person. The piece addresses and makes a case for the need for such measurements of arbitrary skills and character traits, stating that it “resolves mankind’s inability thus far to thoroughly and accurately measure humans. The writing that accompanies this tool adds to the complexity of the ideas by inventively creating acronyms synonymous with the use of the device. The artist is taking liberties here by dictating important characteristics that could potentially become the total sum of a person. The writing also alludes to a method of notation that was developed to sort the data measurements of the RFM. See the text below for a good read.

Writing piece “RFM” Photo Jon Pearson.

In sum, this show presents a depth of substance and an integrity that deepens when the artist’s statements and the work are explored thoroughly. The pieces themselves contain many didactic elements. One element of the show that seemed unnecessary was the inclusion of two lithographic prints which slightly pertained to the sculpture but seemed an after thought. See more of Tatiana’s work and writing here.

10 January 1 Permalink

Grand View Universities’ Faculty Free-For-All

Faculty Show 2012, Grand View’s Rasmussen Center, The Prairie Meadows Gallery 

November 19 2012 - January 11, 2013

Detail of Josh Ryther’s “Private Eyes.” Photo Rachel Buse.

Review by Jon

January 8, 2013

The current exhibition at the Rasmussen Center on Grand View’s campus is a scattered mix of current work by the Grand View faculty. Many major Universities host an art faculty show on a yearly basis as a way of promoting the program and the “research” being done by their teachers. By definition, these shows tend to display an array of work that run the gamut of media, from metal smithing to interactive design. Grand View touts a very strong Art and Design program for its relatively small size and much of its success can be seen in the strong work exhibited by graduates who have come out of the program. Recent Exhibition successes by past students such as Jeremiah Elbel and Jolynn Reigeluth have served to strengthen the art scene in Des Moines and beyond.

Detail from Aaron Tinder’s, “I have no memory of learning any of these things.” Photo Jon Pearson.

In this work by drawing and painting professor Aaron Tinder we see a tight, grid-based painting with a simulacrum of varying perspectives. The color theory in this piece is strong and balanced, and the tied ropes and ribbons serve to lead the eye through the composition and bring some excitement to an otherwise meticulous, structured work. The use of shadow cast by the ropes and ribbons allude to a depth of field which is only implied by the lines and shapes of the rest of the piece. 

Detail from Mary Jones’, “Discomfiture.” Photo Jon Pearson.

Bendy legs and giant-like stature, along with uncomfortably crossed arms and a garish grin lend an air of discomfort to the main character of this collage by Mary Jones. The subject matter, as far as I can ascertain, has something to do with dislocation or relocation from an urban setting to more suburban or rural environs. The figure is flanked by two smaller figures, potentially children. The space inhabited by blue text seems to contain some jargon pertaining to the sale or purchase of a home, but is left relatively vague, as many of the lines are cut of in mid-sentence. Many of the structures in the foreground seem to resemble more urban dwellings, while the structures deeper in the background look like single stand-alone houses. The addition of disembodied heads with hats may resemble the bureaucratic intricacies of relocation. Overall, the piece is balanced in composition and color and has much detail to keep the eyes and mind engaged. Jones’ other work in the show is also very strong and rewards a long look (read what they say).

Detail from Larrison Seidle’s “Untitled (from the new ether series)” Photo Jon Pearson.

This image from Larrison Seidle’s “New Ether,” series seems to depict a dream scape in which two figures are walking across a vast expanse. The viewer’s eye is brought into the landscape by winding path-like color trails. The piece suggests a departure, or a flight, both because the figures seem to be moving away from building structures in the lower right corner, and because one of the figures seems to be carrying baggage. The piece in its use of color and space is very inviting, and the small size (I would guess about 6”by 6”) availed a sense of intimacy between viewer and subject.

Installation view of Josh Ryther’s “Private Eyes.” Photo Jon Pearson.

“Private Eyes” is one of the more striking pieces in the show. The piece commands a portion of floorspace and is composed of the same image of a face crumpled and formed into mask-like forms. I was impressed by the piece’s activation of an otherwise “dead” area of floor and its ability to heighten the experience of viewing the work on the walls. The images of the face are all directed outwards so that any angle you are viewing the piece from results in confrontation. The work evokes consensus and the togetherness, or sameness in the gaze of the multiplied face.

There are many more strong works in the show, and the gallery is hung with deliberation and skill making it a very clean show. The work by graphic design professor James Ewald employs the clear grid-based “Swiss-Style” to stunning effect in his poster design, while Jon Schwestka produced images of kinetic ambiguity. There is a giant, tiered wedding cake with rotating dolls at the base of it, and beautiful images of a “Herd of Brides,” created by Rachel Schwaller.

Detail of the bottom of the giant cake. Created by Rachel Schwaller. Video by Rachel Buse.

All-in-all, the show exhibits the strength of talent amongst the professorship at one of Des Moines’ best art schools, and leads me to believe that more talented and well trained students will continue to emerge from Grand View’s art program.

8 January Permalink

Playing with paint skins

Skins, Moberg Gallery

August 31 - October 6, 2012

Detail of dried paint collage

Review by Jon & Rachel

September 7, 2012

It’s no secret that artist T.J. Moberg tends to create works of art that are meant for public spaces, corporate settings or to hang in people’s homes. And it would be tough to knock him for knowing the kind of audience he courts. “Skins” finds Moberg creating collages out of dried portions of paint by assembling them on a pane of plexiglass. A thick glassy layer of epoxy is poured on top, allowing loose bits of paint to shift and become frozen in mid-movement. Shadowy undercuts created from curled up edges and suspended flakes add a bit more depth to each surface.

Moberg approached his process differently for each composition, varying both the types of paint used and the source materials. In one instance, dried scraps from artist Chris Vance’s studio became a color collage. In another piece entitled “control issues,” a television and remote controls were used to emboss the dried paint.

Jon investigates TJ Moberg’s Miami Skinmachine

Strong color theory predominates, and it almost seems that Moberg consulted a swatch book in the paint aisle at Home Depot to attain colors that could satisfy potential buyers. The work is simply read, and looks like it wants to be used as decoration. An interior designer might pick one of them to hang out in a psychologist’s office if not for all the fragmentation.

Light Snack, TJ Moberg

For the most part, the show lacks direct representation although there are a couple of deviations from abstraction in the guise of flower forms, and an (intentionally?) tacky, thunder-bird-shaped paint skin.

The work seems to be the result of an artist following the consumer as muse rather than expressing a definitive purpose of exploration or concept. Never the less, the process seems fun and sounds fun from the account in the Des Moines Register about how the show came together between rounds of golf.

TJ Moberg’s work will be on display through Saturday Oct. 6, 2012, and you can visit www.moberggallery.com for more information.

7 September 2 Permalink

Interview With the Artist: Robert Braune

Robert Braune, The Lift

June/July 2012

Interview by Jon

August 8, 2012

Robert Braune recently hit the scene in Des Moines with his first solo showing at The Lift. I had the opportunity to interview the artist about process, inspiration, and his relationship with art history. Below is an account of our interview interspersed with images of Robert’s work.

In looking at your work it seems that you are dwelling in the in between land of portraiture and abstraction, why do you paint people in the way that you do?

” There is this desire that I have, to want to paint people the way that they are seen. The way that I see them.  But if I am honest with myself, I find that I lack a talent that is needed to achieve such an image.  So while still attempting to do so, part way through I am reminded of the difficulty that is involved with this task.  So I find this medium ground where I can still portray human without it being pure representational.  They become these monster like humans, but retain human qualities.  Thus becoming less monstrous and more humanly relatable.  Or I would like to think so.  I’m not other people so I cannot speak for them.

More so, I am ultimately trying to create memorable images.  Ones that people will one day want to put in some college students art history book.  So, the images I paint, I try to make them as representative of my work and the way that I plan to continue to work. “

Talk about the materials that you have used and the way that you have constructed your surfaces for this show. What is important to you about using paint?

” Painting is the medium that I chose for art because of it’s history as art.  Painting is just a form of drawing.  I’m not exactly sure of the difference between the two.  Just different names for the same thing I guess.  Paint is just a specific drawing material.  But painting and drawing have existed since the beginning of man.  From cave drawings to street art.  It’s come full circle at this point. 

With this show there is a mix of old and new.  Anything that is on canvas is old.  Four or five years old to be exact.  Those pieces to me, although old felt to be representational of where I came from but also seem to embody what I am currently doing.  The newer pieces are all done on panels of wood. 

I choose to use wood to paint on mainly because of the costs when compared to buying stretchers and canvas.  Also, the prep time is greatly reduced when dealing with wood.  I can have it cut down to the size I need before I even pay for it, take it home and paint right away.

The thing that I strive to achieve with these new paintings is a sense of unfinished.  There is a level of incomplete that has a very finished look.  But there is a fine line between something being completely unfinished by being over worked, and something that is just under worked.  Trying to find that in between is tricky.  It takes a lot of starting and stopping.  Sometimes the decision comes a month after you stopped working on a piece with the intentions of going back into it.  I’ll put a piece back on the easel and have paint on the pallet, but after 5 minutes of staring it’s clear that there is no more that can be done.  “



There are many references in your work to iconic artists such as Francis Bacon and Pablo Picasso, why do you reference these figures, and how does that feed your creative process?

” For the most part the references are an homage to other great artists that I look up to.  At the same time, it has become this competition between myself and these greats.  Who the hell are these guys?  Dead, that’s for starters.  So it should seem that I have the upper hand in this competition.  That would be wrong considering their place in history and my place in anonymity.  Regardless of our living status, I feel that this competition is a healthy drive for my work.  I set my standards high, so I feel like the work that I produce has the potential to be important. “

We talked a little bit about abstraction versus realism and the realm in between the two the other night…Would you have any comments about where your work fits in a larger context?

“  I would say my work is abstracted realism.  Often I paint from something that is real but it becomes abstracted through the quality of my work.  By definition I would be abstract.  But abstract is an abstracted word.  It’s been simplified to the point that it’s to easily applied to things.  For example, I have a plain white coffee mug.  You have a coffee mug in the shape of Bart Simpsons head.  Is the Bart Simpson coffee mug an abstract coffee mug? I’m not a fan of putting things in to categories or genres.  Honestly, when people ask me what I paint, I usually just say still lifes and portraits.  Then I just show them some photos of work.  People can make up their own minds on what my paintings are. “

Keep your eyes open for more showings of Robert’s work in the coming months. Also you may contact the artist here .

8 August Permalink

The Madness of Order, Nicolas Bohac At Fluxx

I Can Feel the World Happening Around Me, Fluxx Gallery

July 2012

Nicholas Bohac’s “Dwell”

Review by Jon

July 20, 2012

Landscapes of visions, dreams, order, and chaos are all mixed up as a colorful soup in the work of Nicolas Bohac.  The work delves into the lack of relationship between order and chaos and tries to find a system to contain the madness. Connections and divisions are drawn between elements of the the natural world, and grid-like superstructures that overlay or become the forms, thus transforming the landscapes into a vision of reality as humanity has altered it (or imagined it).

Installation shot at Fluxx

With the series of chaos drawings, above, Nicolas has allowed a wet medium to explore the pores of paper. Later after the soupy mess has dried the artist observes shapes within the mess and superimposes grids and forms. This to me, is a microcosmic look at how humanity has dealt with the incomprehensible elements of nature. We are not “okay” with disorder and feel the need to superimpose control on the uncontrollable, finding and reading form into the formless terrifying beauty of the earth.

Nicolas Bohac’s “Drift” 

Nicolas’ artist statement for the show talks about wanting to represent or capture the feeling we experience upon waking from a dream. The piece above, simply entitled “Drift,” most accurately acknowledges this state between sleep and wakefulness. A boat slowly traverses a foggy and indistinct water-scape while an electrical storm fills the sky overhead. Forms within the canoe are insinuated but wrapped in colorful blankets obscuring their identity. It is a reminder of the chaos and lack of control we experience when we drift off to sleep. Maybe the unbound state of our unconscious minds could teach us more about the natural world we live in than science and reason ever could. Maybe it already has.

Nicolas Bohac is an artist living and working in San Francisco, California. His work will be on display at Fluxx in the East Village until just before the end of the month. For more on this artist visit http://www.nicholasbohac.com .

20 July Permalink

The iPhone is the new Polaroid camera, accessible and instant

Studio b. Light Impressions,Thee Eye

May 2012

photograph taken by Ian Miller

Review by Jon

May 25 2012

This traveling show “Light Impressions” features work from several national, and international photographers. The images in the show are specifically derived from iPhone based photography. The show eschews, for the most part, the notion that a photograph is an artifact to be considered in its physical form, instead relying on a grouping of Ipads to display the images in a constantly, and quickly, rotating sequence. There is a small representation of prints garnered from the digital photographs on display in the show as well.

In talking with the curator Colleen Duffley we spoke of technology and the preeminence of imagery being generated by hand held devices. Colleen spoke of the iPhone’s role as “the new polaroid camera” and how it allows anyone with access to the device to easily create photographic images. This show brings to the surface many questions about the state of photography, art, technology, and human connection. It highlights, to me, the importance of questioning the tempestuous tide of information, imagery, and ideas that we are consuming daily. When I entered Thee Eye for the opening reception a couple weeks ago, I was enraptured by the constantly cycling iPad wall of images. There were many times where I wished that I could just stop the cycle where it stood to gain a closer look. This is revelatory in its representation of the high speed and sometimes detached digestion of culture that we all encounter daily.

Tonight is the closing reception for Light Impressions at Thee Eye. I would encourage you all to make it out and see this wonderful gallery, have a drink and perceive the spectacle on display. 

The reception is from 8pm-10pm. Event info here.

25 May Permalink

PedalArt Poster Show 2012

PedalArt, Des Moines Social Club

May 4-5, 2012

Review by Jon

May 7, 2012

The PedalArt Poster Show took place over the weekend at the Des Moines Social Club. The ballroom at the Kirkwood was brimming with solid iterations of bike themed posters. People flocked to the show, many on bicycles to show their support for area artists and designers. On the whole the show seemed to be successful, with many strong original works and it is evident that the screen printing culture in Des Moines is advancing. Many of the prints were very well executed on a technical level. The show will be hung at Raygun in the east village from May 8th to May 19th so if you weren’t able to make it out, you still have a chance to view the work. More information, including a list of artists, and other bike related events in the month of May, can be found at bike month’s website. Happy cycling!

Bike racks outside the venue were impressively full.

This grouping comprised about a quarter of all the work on display. The work was clipped to cables running the length of the room on both sides. The way the work was hung allowed the crowd to peruse work from left to right, and to get up close and consider each piece.

I had a personal “beef” with the fact the food ran out so quickly. All that was left by the time I got there was bacon grease drizzled popcorn (no joke). Behind the empty food-tray eyesore, and a gaggle of people, is a wonderful grouping on the East wall.

Illustrator David Kallemyn knocked it out of the park again this year. His ability to render light effects and create an illusion of depth in only 5 colors printed is uncanny. This is my personal favorite from the night.

Kate Allen created a poster that had a consistent crowd of people around it. Her humorous take on childhood ambition was incredibly executed.

7 May Permalink

VIEW THIS SHOW BEFORE WEDNESDAY!

ARTtomatons: the Art of D. Ryan Allen,Raygun 

Closing this Wednesday April 4th.  

Review by Jon

April 2, 2012

2 April Permalink

Sink your teeth into “Monkey Brains” at Moberg

Chris Vance’s Polar Opposites, Moberg Gallery 

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Review by Jon

March 30, 2012

The Surface//The Spatial-

Chris Vance’s latest work is on display at Moberg Gallery on Ingersoll in Des Moines. Upon entering the show I was struck by the consistency. The vibrancy and potency of the colors he uses has not lessened. His show still delivers the instant sick-gut punch to me as a fellow artist. I can’t say that I am jealous, but his work does inspire in me the desire to learn how to “finish” paintings. He has an inspired way with surface. Pinning blurry glazes, shape and line under much crisper glazes shapes and lines. Despite all this layering, the surface still shouts its flatness. The spatial starts to suggest its self but is then firmly denied by the way marks draw me back to the surface. I like an artist that can make a fellow surface devotee step to within inches, and then back. There were four pieces on mylar that felt like a new direction for Vance.  They exhibited more depth and they felt less self conscious than the other work in the show. It’s amazing what a new batch of materials can do for an artist!

 The Cluster//The Style-

There is a section of the show that is entirely composed by a cluster of his “character work.” These clusters are nicely handled and some works are actually framed rather than put on his signature deep-dish art boards. This is an interesting way to hang work because it becomes about the mass presented rather than about each individual piece standing alone. It’s also a chance for some weaker pieces (or pieces of lesser size or expense) to exist near blockbusters. Much of the work on the west wall of the gallery is brimming with fanciful faces on distorted cartoon bodies. The whimsical nature of the work is underscored by a style and technique that bring the pieces to life.

Chris Vance has style for miles and miles. His style has reached its smooth apex with his abstract work, which for the most part is constrained to the east wall of the gallery. His line work, blending, shading, and color overlay all come together with a slick mix and match of technique. The stylistic epitome of his work comes to the fore with the piece entitled “monkey brains.” This work is the proverbial centerpiece to the entire show and it employs a confidence in mark making and a marriage of the representational and the abstract. I feel it displays a strong advancement in Vance’s work. Overall the show may prove to be a culmination of Vance’s stylistic progression over the last five or six years. 

Exhibit runs through May 12^th at Moberg Gallery , 2921 Ingersoll Ave, Des Moines Iowa 50312.

30 March Permalink