“I believe in a primordial sisterhood of women that links them beyond social and territorial boundaries." — Dorothy Kavka

Dorothy Kavka sees herself as an artist who is a chronicler of women: “…both in the roles they are made to assume within their societies and their historical reality. I believe in a primordial sisterhood of women that links them beyond social and territorial boundaries. The ‘other,’ or cultural diversity becomes the guise they assume that is demanded by their fathers, husbands, religious leaders, and lawmakers. My work explores the tension created by the existence of these forces on every woman.”

Kavka was accepted into a prestigious Women's Gallery Show in Chicago and in exhibits at the Kaviar Gallery and the Gallery Janjobe in Louisville. Recently, she won first place at the Jewish Community Center's 12th Annual Mazin Art Exhibition, juried by Joey Yates from the Kentucky Museum of Art and Craft.

When did you first think you would be an artist?

I always knew I would be an artist. Even as a young child, I was always drawing, I took classes at the Art Institute of Chicago (giving up ballet because my parents could not afford both classes), and saved a few of the drawings from those classes; it still amazes me that I could do such detailed work at that age.

Who or what inspires you now?

Knowing that people like what I do inspires me. I just won first place at the Mazin Juried Art Exhibit, and that was a real thrill.

You describe yourself as a “chronicler of women” as regards how they are viewed by society. How do you feel your representation of the human figure captures that?

I find that although I have a number of studies of men, my focus has always been on women. That may be because in the workshops I took, we usually had women models. Then again, I guess I just find women more interesting.

Among the images here are nude studies of women. How does your work avoid some of the objectification of the female form that is still so common?

I don't know. I just draw and paint what I feel at the time I do the work.

What are you reading right now?

I am reading a book about George Washington and about to read “The Bone Clocks” by David Mitchell, who also wrote “Cloud Atlas”. I was an English teacher, and I do enjoy a good book.

Tell us about an important moment of transition for you as an artist?

I think that it happened as an adult, when I was able to start taking workshops with well-known Chicago artists, such as Ed Paschke and Lillian Desow Fishbein. They never tried to "fix" my work by drawing or painting over them, but would offer suggestions that allowed me to discover for myself what I need to do.

If you could do anything else but make art, what would it be?

I need to do art; it is a calling that I cannot ignore.

Has your style changed or evolved over the years? If so what do you think
influenced this?

Yes, my art has changed over the years. Remember that I started art classes when I was a teenager. However, I did not begin to really take my art seriously until I started workshops with Chicago artists. At first I was doing realistic drawings and paintings - which were good, but somehow not fulfilling. Then, I began to work into them, changing the focus, and suddenly I found my stride.

Does art have a purpose? If so what is it?

This may sound trite, but I feel that art is the one thing that makes life enjoyable.

Hometown: Chicago, Illinois
Age: 76
Education: BA in English Language & Literature, University of Chicago; MA in English; University of Wisconsin; studied at Art Institute of Chicago and in private workshops with Ed Paschke and Lillian Desow Fishbein

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Drawing, Painting

Vignette: Joshua Jenkins

Josh Jenkins · January 27, 2017

*"Three Kings No. 2" by Joshua Jenkins, 52 x 41 x 1 in, acrylic and mixed media on canvas (2016)*

For his upcoming show at Kore Gallery in Louisville, painter Joshua Jenkins has been creating a body of work that shows him shifting from the energetic, bold color and mark making that has long characterized his work. A softer approach to outlining form and a comparatively muted color palette rendered in broad washes of acrylic paint has dominated his technique since the end of summer 2016.

“Seeing a muted color pallet can seem calming to the viewer,” explains Jenkins, “but once you look closer at the surface, you can see a juxtaposition of more complex emotions with anxious line work subtly radiating through each canvas. The subject matter of each work focuses on the abstraction of the sorrowful human form in contrast with a slight homage to nature…”

*"Drawing #18" by Joshua Jenkins, 9.5 × 7.5 in, graphite and watercolor on paper (2016)*

It is in that balance that Jenkins finds contentment, a location that inspired the title of the new exhibit: Somewhere In Between Anxiety and Serenity. “Joys and upsets always seem to come hand in hand. Keeping in mind the current political climate of our country and the world as a whole, along with my own personal life experiences, I wanted to explore the contrasting feelings of fear and happiness. It seems as though neither emotion can shine without the other lingering in the background.”

The artist is featured in the January 2017 issue of Kentucky Homes & Gardens (Louisville). The article is about Carriage House Interiors and their 2016 Homearama design that prominently featured two of Jenkins’ paintings.

The Great Meadows Foundation recently awarded an Artist Professional Development Grant to Jenkins. He will be using the grant money to visit Los Angeles for the first time.

Jenkins has also been accepted to showcase his work at Mellwood Art Center's March Art Show on March 4th & 5th.

Hometown: Poughkeepsie, NY
Age: 29
Education: BA in Digital Media with a Minor in Studio Art, Marist College (Poughkeepsie, New York)
Website: http://www.joshuajenkinsart.com
Gallery Representative: Joshua is self-represented locally, but is represented by New Editions Gallery in the Lexington area

*"Birds Flying High" by Joshua Jenkins, 40 x 40 x 1.5in, acrylic and mixed media on canvas (2016)*

*"A Moment of Disbelief" by Joshua Jenkins, 40 x 36 x 1in, acrylic and mixed media on canvas (2016)*

*A detail of an untitled work by Jenkins.*

*"Wondering What Just Happened" by Joshua Jenkins, 24 x 18 x 1.5in, acrylic and mixed media on canvas (2016) $750*

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Painting

Vignette: Kayla Bischoff

Josh Jenkins · January 26, 2017

“The universal language of humanity spanning across time and geography informs my work.”
– Kayla Bischoff

"Jibber Jabber" by Kayla Bischoff, 36x36in, acrylic on canvas (2015) $525 | BUY NOW — *"Jibber Jabber" by Kayla Bischoff, 36x36in, acrylic on canvas (2015) $525 | BUY NOW*

Masks have been a crucial element in religious iconography, particularly in primitive cultures, and by extension, visual art, which is, of course, how we know about those ancient worlds. Kayla Bischoff’s paintings are filled with faces rendered in simple terms that are nonetheless highly expressive. It is the most immediate way of identifying her work, and these most recent pieces reveal an ever-developing subtlety and variation in her painting. The artist describes it this way: “Gaping mouths, shrugging shoulders, flailing arms, and cackling faces occupy the surface in an overcrowded frenzy. On the surface my paintings are vibrant and playful; however, I invite the viewer to peer closer into the cluttered surface of detailed disorder to discover many of the abstracted figures experiencing some inner trepidation.”

“The style in which I paint is a balance of abstraction, representation, spontaneous expression, and conscious decisions. The characters are hurriedly drawn in frenzy, and then built upon with several layers of paint to enhance the depth of the surface. I convey my ideas in paintings because the immediacy allows for uninhibited mark making. The tactile nature of the paint feels authentic while connecting me to the earliest form of human visual expression.”

"Vamoose (diptych)" by Kayla Bischoff, 10x10in (each), acrylic on panel (2015) $275 | BUY NOW — *"Vamoose (diptych)" by Kayla Bischoff, 10x10in (each), acrylic on panel (2015) $275 | BUY NOW*

In “Vamoose” the figures are strikingly evocative of famous ancient formations such as Stonehenge and Easter Island, and Bischoff is clear that the references are intentional: “I seek to create a connection between contemporary art and that of past civilizations. I reference ancient artworks, such as figurines and masks from various cultures — Andean, Mesoamerican, Japanese, African, Aboriginal, etc. The universal language of humanity spanning across time and geography informs my work. The use of stylized figures acts as a communicative shorthand of body language and facial expressions. I am also greatly inspired by modern artists such as Keith Haring, Jean Dubuffet, and Elizabeth Murray. Through the playfully chaotic layers of figurative abstraction, my work comments on the plight of the individual and humanity as a whole.”

"Alter Egos" by Kayla Bischoff, 60x40in, acrylic & fabric on canvas (2016) $825 | BUY NOW — *"Alter Egos" by Kayla Bischoff, 60x40in, acrylic & fabric on canvas (2016) $825 | BUY NOW*

Bischoff’s second solo show Push/Pull: Paintings by Kayla Bischoff will be on exhibit February 1 - 26 at the Krempp Gallery in Jasper, Indiana. There is an opening reception February 2, from 5-7pm.

Hometown: Louisville, Kentucky
Age: 24
Education: BA, (Magna Cum Laude) Studio Art: Painting Emphasis/Minors in Art History & Psychology, Bellarmine University, Louisville, KY, 2014
Website: http://www.kaylabischoff.com/
Gallery Representative: Galerie Hertz

"The Watchers" by Kayla Bischoff, 24x26in, acrylic & fabric n canvas (2017) $475 | BUY NOW — *"The Watchers" by Kayla Bischoff, 24x26in, acrylic & fabric n canvas (2017) $475 | BUY NOW*

"Don't Lose Your Head" by Kayla Bischoff, 40x40in, acrylic on canvas (2016) $625 | BUY NOW — *"Don't Lose Your Head" by Kayla Bischoff, 40x40in, acrylic on canvas (2016) $625 | BUY NOW*

"Petty Pile" by Kayla Bischoff, 48x30in, acrylic on canvas (2015) $575 | BUY NOW — *"Petty Pile" by Kayla Bischoff, 48x30in, acrylic on canvas (2015) $575 | BUY NOW*

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Vignette: Nikita Krivoshey

Josh Jenkins · January 24, 2017

"Mandala" by Nikita Krivoshey, 20x27in, mixed media on paper (2014), $400 | BUY NOW — *"Mandala" by Nikita Krivoshey, 20x27in, mixed media on paper (2014), $400 | BUY NOW*

Nikita Krivoshey is an artist, muralist, and designer, based out of Louisville, KY. His work is vitally connected to his personal spirituality, and it comes as no surprise to discover that he spent one year as a monk in Myanmar, which had a profound influence on his worldview and art. His work charts a progression that now frequently expresses itself in unique ‘mandala’ compositions. Originating in Hinduism as a highly formal symbol or diagrammatic composition meant to represent the universe; Krivoshey uses the idea of the open visual structure, in which an image can be viewed from all four sides, as a foundation for more illustrative, allegorical imagery.

"Death Nurtures Life" by Nikita Krivoshey, 12x18in, markers on paper (2014), $350 | BUY NOW — *"Death Nurtures Life" by Nikita Krivoshey, 12x18in, markers on paper (2014), $350 | BUY NOW*

Though Krivoshey has dropped the geometric formalism that we associate with the term, his mandalas still utilize color palettes evocative of Buddhist sand paintings, and his narrative feels like a merging of the figurative tradition in western religious art and the concentration on pattern common in eastern spiritual rituals. The sometimes intentionally distorted perspectives force a less familiar relationship between the viewer and the work, yet it is one that.

“I want to show something from a new perspective,” explains Krivoshey, “while meditating on the process of image making. There is a kind of spirituality that must be discovered in the work that is very important for me to get a sense of meaning and fulfillment from it. Whatever the image is, there is a process of self-inquiry and continuous reflection. This can be seen in my themes with religious references, symbolic details, and occasional perspectival warping. Some of my work that is more abstract focuses on the process, and emotional enfoldment, more so than a specific statement. In such work, the idea is to be transparent to the self and to break down conceptual formation into more core building blocks.”

Even though the artist is working in a largely representational manner, there is a lot of mystery in these enigmatic mixed media drawings. Krivoshey continues: “Communication is an essential aspect of my image making. I want to have a dialogue with the viewer. Although much of my work has specific, intended meanings, I recognize that someone else may perceive an element of my work differently, and I want to understand how these perceptions arise. In this way the viewer and I can better understand the causal factors behind the perceptions of beauty, appreciation, and fascination. I want to inspire the type of investigation that leads to existential insight and greater peace.”

Krivoshey has led a number of community collaborative art projects in Louisville, and has taught art classes to children and adults, in summer camps, community centers, and as an elementary school teacher in South Korea. One particular fascination has always been with psychology and environment as experienced by the individual and this theme has been a common thread throughout much of Krivoshey's artwork.

His work has been displayed locally in Galleries including at the US Congress Building, and KY Center for the Arts. From September to November 2016, Krivoshey was one of four artists to exhibit in two separate shows in Germany at Gut Basthorst in Hamburg, and Buddhas Weg, near Weinheim.

Hometown: Louisville, Kentucky
Education: BFA, Rhode Island School of Design, Illustration major, 2009
Website: http://nikitaart.com

"Creation" by Nikita Krivoshey, 20x29in, neocolor on paper (2008), $450 | BUY NOW — *"Creation" by Nikita Krivoshey, 20x29in, neocolor on paper (2008), $450 | BUY NOW*

"Waking Up Possessed" by Nikita Krivoshey, 12x18in, markers on paper (2014), $350 | BUY NOW — *"Waking Up Possessed" by Nikita Krivoshey, 12x18in, markers on paper (2014), $350 | BUY NOW*

"Colorado Aspen" by Nikita Krivoshey, 20x17in, oil on paper (2013), $400 | BUY NOW — *"Colorado Aspen" by Nikita Krivoshey, 20x17in, oil on paper (2013), $400 | BUY NOW*

Photography

Vignette: Judy Rosati

Josh Jenkins · January 23, 2017

"Buffalo (Custer)" by Judy Rosati, 16x20in, hand colored silver gelatin photograph (2015), $125 (matted & framed) | BUY NOW — *"Buffalo (Custer)" by Judy Rosati, 16x20in, hand colored silver gelatin photograph (2015), $125 (matted & framed) | BUY NOW*

Hand coloring black & white photographs may seem quaint or old-fashioned, yet in a time when we are inundated with digital imagery in our every waking moment, the virtues of such an approach are not difficult to understand: occasionally we need to rest our overexposed, weary eyes. Judy Rosati’s use of the technique has the effect of allowing us to view the busy world in slow motion and ponder what it must have been like before we were swallowed up by the media age.

"Old Faithful (Yellowstone National Park)" by Judy Rosati, 16x20in, hand colored silver gelatin photograph (2015), $125 (matted & framed) | BUY NOW — *"Old Faithful (Yellowstone National Park)" by Judy Rosati, 16x20in, hand colored silver gelatin photograph (2015), $125 (matted & framed) | BUY NOW*

Rosati’s approach has shifted recently to an even more informal, subjective use of color that introduces abstraction to what are determinedly representational images. In “Old Faithful” the familiar geyser in Yellowstone National Park is less tourist image than a study that blurs the distinctions of the natural world, rendering the kinetic motion as a surreal curtain being drawn across our field of vision, the subdued tones evoking nostalgia while simultaneously reducing depth and dimensionality.

Rosati shoots both film and digital, but her hand-colored photographs are printed from film negatives. “After the print is made, I use Marshall's Photo Oils and Prisma pencils, “ she explains. “My attempt to personalize my interpretation of the subject matter is evident by the spontaneous use of color, as well as the retention of some of the natural aspects of the original black, white and gray areas. No two photographs are exactly alike, making each one unique.”

"Geese in Winter" by Judy Rosati, 16x20in, hand colored silver gelatin photograph (2016), $125 (matted & framed) | BUY NOW — *"Geese in Winter" by Judy Rosati, 16x20in, hand colored silver gelatin photograph (2016), $125 (matted & framed) | BUY NOW*

The artist is the owner of Judy Rosati's Fine Arts Photography LLC, a juried member of Louisville artisan's Guild--co-liaison (photographer) to web curator, Jury committee member; scholarship committee juror. Rosati is a Juried member of Kentucky Crafted--regular juried artist in Kentucky Arts Council shows, and an Artist member of Louisville Visual Art. She was a digital photography Instructor in Bellarmine's School of Continuing & Professional Studies for 11 years, and still gives private digital photography instruction.

Rosati’s work will be a part of the Kentucky Arts Council exhibit, Kentucky Visions at The Capitol, January-March 2017.

Hometown: Louisville, Kentucky
Age: 72
Education: Bachelor’s Degree (Art education; Health & Physical education), Western Kentucky University; Master’s Degree in Arts Education, Eastern Kentucky University
Gallery Representative: Edenside Gallery (Louisville)
Website: http://www.judyrosatiphotography.com/

"Wildflower Walk in the Parklands" by Judy Rosati, 16x20in, hand colored silver gelatin photograph (2016), $125 (matted & framed) | BUY NOW — *"Wildflower Walk in the Parklands" by Judy Rosati, 16x20in, hand colored silver gelatin photograph (2016), $125 (matted & framed) | BUY NOW*

*"Parklands of Floyd's Fork in Winter" by Judy Rosati, 16x20in, hand colored silver gelatin photograph (2015)*

Q&A: Dorothy Kavka