A Chance to Curate 

INEFFABLE at Keystone Art Gallery      

Art by Robin Mitchell

                                                                                                        
                                                                                                       

Sometime last year I was given the opportunity to curate a show.  As an artist I like putting different materials together to add texture and meaning to my work, and this was a chance to bring artists together using their art as raw materials to create a more complex story. Rather than juxtapose materials, I could arrange works by different artists to create a bigger assemblage, larger in scope and more multifaceted than what I could construct alone.

I chose the ineffable as a theme for the show because it was the common denominator between many artists’ work that I admired and because it is a compelling part of the artistic experience.  It is also fascinating to me because it is non-intellectual and resides in the emotions. And perhaps because opposites attract, I often gravitate towards art that is very different than my natural inclinations.  Left to my own devices I will usually choose a simple, direct solution, whether it is in my art or writing.  However, I recognize the value of what I lack the aptitude for: personal, emotional narratives, imaginary landscapes, fanciful or poetic works that explore the unknown and take risks that I avoid. As Joni Mitchell put it, “…. I’m drawn to those ones that ain’t afraid”.

Hagiography by Cindy Rehm

The eleven artists showing in Ineffable are fearless. They search for meanings, for enlightenment, for healing, and for truth.  Their work is as varied as their preoccupations and the materials they use to express themselves.  The ineffable hangs in the air, sometimes as an immersive experience, as in Robin Mitchell’s luminous paintings and at other times as mysterious puzzles to be unraveled in deeply personal, yet social commentaries, like in the surreal collages by Cindy Rehm and the paintings by Georganne Deen that show both her keen wit and vulnerability. Rick Potts and Ric Heitzman each use humor and their unbridled imaginations to express impossible and absurd landscapes and portraits, while Lou Carney’s paintings depict people carefully observed in a moment of a mundane activity or repose.  

How to Advertise by Kio Griffith

Kio Griffith and Richard Keely alter and juxtapose common objects with great sensitivity to their materials while challenging our perception of things and Heather Lowe uses lenticulars, a form of 3D photography to create lyrical responses to music and emotional states. Anna O’Cain’s installations combine her photographic work with found objects, using memories, systems of organization and crafts to tell her stories, and lastly, Raghubir Kintisch explores spiritual phenomena in her paintings and multimedia work. For the opening of Ineffable she will lead a gong meditation, providing a truly ineffable experience for those who can attend. 

Each artist adds to our understanding of the indescribable experience that we characterize as ineffable.  Some of the artists address the experience itself while others explore things that we may not understand or cannot articulate through language. The beauty of a quietly observed moment, a desire to heal or seek things larger than ourselves are all reasons artists and viewers alike are drawn to art. Ineffable invites the viewer to observe and allow the art to communicate their mysteries beyond the realm of words. 

Anna O'Cain AstroValleyBoatYazooLake

INEFFABLE at Keystone Art Gallery 

Opening Reception: March 3, 2019 1-4 pm 

Artists: Georganne Deen, Kio Griffith, Ric Heitzman, Richard Keely, Raghubir Kintisch, Heather Lowe, Robin Mitchell, Anna O'Cain, Rick Potts, Cindy Rehm, Lou Carney alias Mary Lou Zelazny.

A special thanks to Heather Lowe.



For more information go to our FB event: 

https://www.facebook.com/events/638047353279874/

Collaborations at Keystone Gallery

Exquisite Pittoresco at Keystone Gallery
June 10-June 19, 2017
Curated by Heather Lowe

Opening Reception: Saturday, June 10, 5-7 pm 
338 South Avenue 16, Los Angeles, CA  90031

Collaborations between artists are tricky things.  Not unlike the relationships between artists and their clients, patrons or dealers, the process of collaborating can be fraught with problems: clashing egos, different artistic visions and temperaments, miscommunications, grudges and yes, failures.  I think of the fireworks that ensued when Robert Irwin and Richard Meier clashed at The Getty while planning the gardens; each lobbying for their concept and jockeying for power.  Artists as well as architects can be passionate and protective about their vision. Alternatively, collaborations can be challenging and inspiring with results that are greater than the sum of their parts.  The artist enters into a covenant with a lot of trepidation because, after all, the creative practice is a private and sacred zone for most.

Heather Lowe’s curatorial effort at the Keystone Gallery, Exquisite Pittoresco, celebrates the better nature of artistic collaboration through the convention of the exquisite corpse known to art students everywhere and made famous by the Surrealists.  The original premise of an exquisite corpse was that one artist began a drawing followed by a second artist who continued drawing on the same paper, usually without seeing the initial effort.  The mash-up of images appealed to artists like André Breton, Miró, Yves Tanguy and Man Ray, whose love of happenstance informed their work.  They found beauty and meaning in random imagery, influencing modernists for generations. Lowe, in her infinite wisdom, has allowed her artists more leeway by suggesting invited artists to collaborate with another person in a four-part process with only a few guidelines.  Indeed, artists were expected to break the rules and many did. The 17 sets of artists in Exquisite Pittoresco each approached the challenge differently and it is as fascinating to consider their process as much as it is to see their efforts.

In this show as in other collaborations, artists may create together side by side or work sequentially, responding to work by taking turns.  Artists might envision the finished artwork as a single piece or as several independent, modular works that relate to each other through a linear narrative or through formal attributes. Artists could agree to work on just their own contributions or decide to work into their partner’s work too.  There are endless possibilities. Come see some of them at Exquisite Pittoresco. Opening reception is Saturday, June 10 , 5-7 PM.

Artists participating in the show are: JonMarc Edwards/ Ando Pndlian, Dwora Fried/ Bibi Davidson, Jeffrey Vallance, Paulette Nichols, and Victoria Reynolds, S. Lee Robinson/ Kat Genikov, Matt MacFarland/Jesse Lucas, Sarajo Frieden/Lorraine Heitzman, Ichiro Irie/ Aska Irie, Sarah Stone/Patrick McGilligan, Lena Moross/Steve Seleska, Ted Meyer/Heather Lowe, Julia Schwartz/Jared Valesquez (Vasco), Krista Machovina/Kerry, Maria Bjorkdahl/Kristine Augustyn, Robert Costanza/Glenn Waggner, Janet Stafford/Michelle Hill, Julia Schwartz/Kio Griffith, Kailey Fry/Rachel Deehan

Bigger Not Better: Architecture Gone Wrong

When I was an art student in Chicago, I lived near downtown for a while in a blighted, industrial neighborhood.  I rented a cheap, neglected storefront that I discovered was the former home of the “Boom Boom Social Club”. It came furnished with a 2-man shoeshine stand, twenty phone jacks and boxes of short pencils used for off-track betting. I loved it.  The surrounding area was still undeveloped then and I could explore weed-choked railroad yards, seldom-used bridges and tributaries of the Chicago River flanked by old warehouses.  However, the economic tide was turning and soon the empty spaces were being fleshed out with new, overly ambitious buildings, anticipating the corporate flush of the Reagan years. The silhouette of the skyline was rapidly changing, and not always for the better.  Like the Sears Tower that preceded them, these buildings spoke to their wealth and status in a very muscular vernacular that was more like monuments to the architects themselves. 

One South Wacker
Murphy/Jahn

Willis Tower (formerly Sears Tower)
Fazlur Rahman Khan, Bruce Graham, SOM

One Magnificent Mile
Skidmore, Owings & Merrill

Around the same time, everywhere you went, headlines were screaming from newsstands: “Who Shot J.R.?”  The success of this stunt was phenomenal and the convergence of a mass marketing campaign and a plot surrounding the take down of a powerful icon, gave me an idea. I fantasized about devising a campaign too, but rather than speculate about the fate of television characters, I wanted to call attention to a lot of the awful architecture that was reshaping the city.  I imagined an intervention to “out” newly constructed architecture by posting grades onto their facades, a sort of scarlet letter for architectural offenses. I never did it, but I guess the impulse remains.  I think I felt motivated because buildings can last for such a long time and like your neighbor’s wind chimes, they are something you have to live with whether you choose to or not.

Now I live in Eagle Rock. Every few mornings I walk briskly around my neighborhood for exercise and each evening I go out again with my dog at a much more leisurely pace.  Over the past 5 years and the many miles that I have walked around the neighborhood, I have encountered coyotes, bobcats, trees under assault from bark beetles, and newly landscaped yards generated by city rebates.  I pass neighbors walking their dogs, young parents pushing strollers and all too frequently, older men and women hobbling along under doctor orders as they recuperate from unknown injuries.  All in all, it is a very genteel community.

The architectural styles here vary from block to block and even house to house. Among the few mansions and small apartment complexes you will find hundreds of well-preserved craftmans, Spanish colonials, English Tudors and a few mid-century houses. Some blocks  look like a preserved sampler of 20^th century life and most homeowners have done thoughtful restorations. 

Lately however, I have watched as several charming bungalows were knocked down for the construction of bland and bigger homes in their place. With a depressing regularity, too many houses are falling victim to the American appetite for all things large and new.

The teardown starts innocuously enough. First comes the dismantling of the wood siding, at which point there is still hope that the owners are replacing termite-damage.  But then the deconstruction accelerates and soon a chain link fence surrounds the property.  I imagine the homes on either side cringing in anticipation of the behemoth that will inevitably replace the modest wood house. A familiar helpless feeling overtakes me.   I can guarantee that the new two-story house will take up almost the entire lot. The garage will be prominently placed up front attached to the house and all the windows and doors, including the garage door, will be stock items from a home improvement store.  Sometimes there are architectural details that seem to poke fun at architectural details, like a partial outline of a peaked roof; a postmodern gesture towards the house it has subsumed.

The last injustice will be a coat of stucco in the requisite pastel pink or beige, looking more like a new commercial space than someone’s house. It seems incredibly shortsighted to underestimate and squander the very things that make this neighborhood great.

This is not just endemic to Eagle Rock.  I see it everywhere and its been going on for a long time.  I really don’t begrudge anyone building his or her dream home but often, these new houses destroy the character of a community.  The scale is out of proportion to not only the property but to the surrounding homes.  The designs lack any unique features or personality. The underlying motive for these thoughtless renovations are to squeeze the most real estate onto a small lot as cheaply as possible. 

Why?  It is not impossible to build a larger house without destroying the character of the neighborhood.  I think we have a responsibility to keep the integrity of the street and "Enough, already!" with the bigness.  I’ve seen examples of thoughtful renovations whereby the homeowners improve their property and the neighborhood at the same time. But not every homeowner is interested in architecture or design.  Many people just want a big house.  I don’t object to large houses or any particularly style or mix of styles. Even high-density housing is appropriate in places. I only wish that we could restrict the size of new homes to an appropriate, livable scale in relationship to the size of their property and in context to the neighboring houses and street.  After all, it affects our quality of life.

Architecture is just one factor that contributes to the appearance and livability of our neighborhoods but it is a large part of what we think of when we compare one community to the next. I have tremendous respect for those architects who create elegant, functional structures and have the tenacity to work with clients, budgets and building commissions.  I think of the great responsibility architects have towards the public as well as to their clients. My creative ambitions are very small by comparison.  I prefer to work in my studio rather than in public. I like the privacy of my solitude without external forces coming to bear on my decisions and I certainly don’t want to ask for permission to execute my ideas. My independence allows me to remain focused internally on the process of exploration and expression but it has its limitations too.  Working alone can be, well, lonely, and it is an effort to find an audience, let alone create a dialogue.

There are many artists these days whose creative practice is more akin to the process of architecture than to traditional studio arts.  These artists use objects and crafts as a means to affect social change rather than as a means unto themselves. Programs that encourage activism are proliferating not just in art schools, but at universities and across many disciplines as well. I find it intriguing because it is completely antithetical to the way I think. For me, I find that writing is a more preferable method of engaging with the world for change; writing has become my social practice. So when I ask myself why I find the building in my neighborhood so disturbing, my impulse is to write about it.

We all exist within communities. Some of the communities are of our own making and some are based on our culture or neighborhood.  Some are real and others are virtual.  In each community we have responsibilities and sometimes that means limiting the size of our house and respecting the environment, natural or man made.   I have noticed some of the same concerns from Chicago friends about the “tear-down” phenomenon. How do you feel about the changes in your neighborhood?* Where would you draw the line between responsibility and freedom?  

*Your response and photo submissions are welcome!  If you send me a photo, with your permission, I will post it to my new Instagram account, #bad_architecture.  My intent is not to shame any homeowner.  “Bad” is meant primarily in the context of appropriateness and the values of our communities rather than personal taste. I look forward to your comments too. You can post below. Thanks!

photo credits:  Willis Tower/SOM, One Magnificent Mile/skyscrapercenter.com, One South Wacker Drive/ Wikimedia.org  All other photos by Lorraine Heitzman