Print Making, Drawing, Illustration, Mixed Media, Painting, Ceramics

Feature: Studio 2000 - Making It Count

Josh Jenkins · August 2, 2017

*Studio 2000 students at the start of the program.*

On a hot and humid July afternoon at the Shawnee Arts and Cultural Center, the gym is alive with the sounds of basketball - the hard, sharp squeak of shoes on the wood floor and the pounding dribble of the ball up and down the court. But adjacent to the gym, 14 young high school students are working diligently, focused and oblivious to the soundtrack of frenetic activity only a few feet away. They are earning money over the summer - by making art.

Studio 2000 was for several years an initiative of Louisville Metro Parks and Recreation to foster young artists by paying them to create. It was, in effect, a summer job. After a time, it was suspended, but it was resurrected in 2015 as an ongoing partnership between Metro Parks and Louisville Visual Art (LVA). Studio 2000 pairs high school students who aspire to be visual artists with professional artists to work in clay, fiber and mixed media. Each participant receives a $500 stipend at the end of the eight-week session.

The program culminates with a public exhibition and sale on August 3 at Actors Theatre of Louisville. Proceeds from this sale are recycled through Studio 2000 to support future programming.

Managing the program for LVA is Outreach Coordinator Ehren Reed, who reviews the applications and supervises the classes. She is also one of three teachers, along with Simon Gallo and J.D. Schall. Reed works with fibre arts, while Gallo, a printmaker, handles 2-D mixed media and Schall focuses on ceramics. Reed and Schall have participated since LVA became involved three years ago, and this is Gallo’s second year.

Carol Watson, a student at Presentation Academy, applies hot wax with a brush to fabric, part of the Batik process of dying cloth that is a staple of visual arts education. She explains that she is very active in arts in school, and will be the President of Presentation’s chapter of the National Art Honor Society (NAHS) in the coming school year. Next to her, Jenee’ Whitt uses one of two sewing machines to hem a small piece of Shibori-dyed fabric that will become a table decoration. A student at Butler Traditional High School, her ambition is to be a fashion designer, and normally she fills sketchbooks with her ideas, but she has no other access to a sewing machine, so this constitutes a rare opportunity for hands-on fabrication.

Also in the fiber group is Lilah Pudio, who is felting, patiently but steadily working a 6” x 8” field of alpaca with a small tool so that it becomes a handmade piece of fabric. Although she is anxious to make progress, the tool contains several very sharp, barbed needles, so the work demands caution. Only moments after Pudio demonstrates the process, Reed, who is working with the same tool, shouts out after catching her fingertip on a needle, dancing around the room sucking on her wounded digit. Despite the pain, it is a lighthearted moment, and Reed laughs as she explains: “We’re definitely the most dangerous area down here: needles, sewing machines, hot wax!”

There doesn’t appear to be any such risk at the 2-D station, where Simon Gallo oversees a variety of techniques. Ella Gorstein is happily painting multiple images of a corgi that will be sold at the upcoming sale, while DuPont Manual HS student Braeden Helby concentrates on painting an original design on a skateboard deck, although he’s not happy with it right now. “But it’ll get there,” he assures me. “I’ll make it work.” Across the table from him Joachim Uy is sketching a design in a sketchbook. This is the Male Traditional Senior’s second year in Studio 2000, and he understands that he is fortunate to have had the experience. Working now in the final days of the 2017 iteration, he is intent to complete more work. “Make it count,” he says in a low, soft voice.

*TaneJa Eden with Instructor J.D. Schall*

At the back of the room, four young women are industriously producing work in clay. TaneJa Eden from duPont Manual takes a break to eat a plate of homemade food delivered by her younger sister. Another artist returning for a second year, Eden worked in the 2-D section last year. “But we feel it is important to mix it up for returning students,” explains Clay Instructor Schall. “Give them different experiences.” Interestingly, a common motif in this summer’s ceramics work is the octopus. Elizabeth Hill (Corydon Central HS) is attaching octopus tentacle legs to her box project, while Andrea Priddy (Academy @ Shawnee) is in the last stages of an octopus teapot that is somewhat astonishing. “We all came up with the octopus idea on our own,” Priddy claims shyly. “We all had octopus sketches in our notebooks.” She seems appreciative when I note the suppleness in the shapes that wrap around her form so that the handle and the spout emerge as tentacles.

Braeden Helby  & Justina Grossman — *Braeden Helby & Justina Grossman*

Fiber Group
Joseph Falcon - Academy @ Shawnee
Donielle Panky - Butler Traditional HS
Lilah Pudio - duPont Manual HS
Carol Watson - Presentation Academy
Jenee’ Whitt - Butler Traditional HS

2-D Mixed Media Group
Ella Gorstein - duPont Manual HS
Justina Gossman - Academy @ Shawnee
Braeden Helby - duPont Manual HS
Synclaire Thomas - duPont Manual HS
Joachim Uy - Male HS

Ceramics Group
TaneJa Eden - duPont Manual HS
Elizabeth Hill - Corydon Central HS
HaYoung Oh - duPont Manual HS
Andrea Priddy - Academy @ Shawnee

Getting Out Of The Studio

This year the program was expanded to encompass public art in the form of a mural executed under the guidance of artist Casey McKinney. A wall on the side of Christ Way Missionary Baptist Church facing Floyd Street had been the target of random graffiti that necessitated costly clean-up, and when the church administrators reached out to LVA because of their MAPped Out program, Ehren Reed thought of beginning a new track for Studio 2000 that covered murals. “I was able to reconfigure the budget to introduce this new element that is so in line with our mission.”

*Filming underway at the Christ Way Missionary Church Mural.*

The Studio 2000 mural was conceived and executed by these students:

Grady Gartland - duPont Manual HS
Nina O’Brien - Atherton HS
Milo Quinn - Fern Creek HS
Zavier Stewart - Eastern HS
Olivia Tierney - duPont Manual HS

McKinney gave his young charges a crash course in community murals with visits around town to some of the many mural projects completed in recent years, and the design concept was developed by the students themselves. Their first choices for inspirational message were a bit wordy for a large-scale mural on a schedule, so McKinney encouraged them to search a bit more, and the Robert Ingersoll quote “We Rise By Lifting Others” was selected.

Details of the mural will be reproduced as notecards and available for purchase as part of the sale on August 3.

Studio 2000 Exhibit and Sale
Thursday, August 3, 5:00-7:00pm
Actors Theatre of Louisville, 316 West Main Street
Sale Preview: 5:00-5:30 p.m. Sale 5:30-7:00 p.m.

Studio 2000 Mural Unveiling
Sunday, August 6, 12:00-2:00pm
Christ Way Missionary Baptist Church, 237 E. Breckinridge Street

*Andrea Priddy working on her octopus teapot.*

*Donielle Panky & Carol Watson at the sewing table.*

Are you interested in being on Artebella? Click here to learn more. — *Are you interested in being on Artebella? Click here to learn more.*

Photography

Vignette: Mitch Eckert

Josh Jenkins · August 1, 2017

Art ,“born out of frustration,” — Mitch Eckert

Like many artists, Mitch Eckert works in several different veins. Here we examine some examples from his Translations series. Eckert explains that he has been exploring the genre of still life for 25 years, and in these images we see him emulating the lighting in Flemish paintings. At one point Eckert had sought to discard the project and placed the work prints in a recycle bin – a purging action more common than the lay person might assume, but familiar enough to working artists. Eckert explains the process in his own words:

“Still Life with Cherries and Blue Bowl” by Mitch Eckert, 30x49in, Archival Pigment Print (2006), $1200 | BUY NOW — *“Still Life with Cherries and Blue Bowl” by Mitch Eckert, 30x49in, Archival Pigment Print (2006), $1200 | BUY NOW*

“Still Life with Two Nectarines” by Mitch Eckert, 38x26in, Archival Pigment Print (2006), $850 | BUY NOW — *“Still Life with Two Nectarines” by Mitch Eckert, 38x26in, Archival Pigment Print (2006), $850 | BUY NOW*

“The Translations series was born out of frustration. I wanted to participate in a dialogue with the rich tradition of the Dutch masters of still life painting so I set out to learn compositional strategies of creating still lifes in that manner. I set up the floral arrangements (my wife made the bouquets from our garden flowers) and using natural light made probably 300 photographs of different still life. After printing them all on an inexpensive inkjet printer to pin them on my wall and contemplate, I came to the realization that perhaps they were too commercial, too pretty. As a student in the heyday of Postmodernism (1980's) I became anxious and nervous about making work that was too pretty. I didn't know how to talk about them. I didn't want to make commercial work.”

“Out of frustration I wadded up the prints and threw them into the recycle bin. After a couple weeks had gone by I was getting ready to set the crumpled photographs into the alley for the recycle to be picked up. I unraveled one of the balls of photographs and to my surprise there was an immediate visceral reaction of delight when my eyes looked at the creases, folds, and torn edges of the photographic paper. In an effort to preserve the image I scanned the crumpled still life with a flatbed scanner and then, using a large format printer, made enlargements on a wonderful printmaking paper that wonderfully complimented the aged wrinkles.”

“Still Life with June Bouquet, Cherries and Figs” by Mitch Eckert, 24x18in, Archival Pigment Print (2006), $450 | BUY NOW — *“Still Life with June Bouquet, Cherries and Figs” by Mitch Eckert, 24x18in, Archival Pigment Print (2006), $450 | BUY NOW*

The results blur the lines of the medium by removing the slick surface and detail of photography and exchanging them for a distressed visual texture. Without intending to do it, Eckert brought his images even closer to the aged and brittle tactile reality of their inspiration.

Examples of this series can currently be seen in Altered Perceptions, an LVA Photo-Biennial Exhibit at Metro Hall, which runs through January 12, 2018. Some of the images we see here are featured in that show, which also includes work from C.J. Pressma and Jenny Zeller.

The artist currently lives in Louisville, Kentucky where he is an associate professor or art in the Hite Institute at the University of Louisville. His work can be found in permanent collections of 21c Museum, Butler Institute of American Art, Indianapolis Museum of Art, the Photographic Archives at the University of Louisville, and Swope Museum of Art.

Hometown: Indianapolis, Indiana
Education: BFA, Photography & Sculpture, Herron School of Art; MFA, Photography, Printmaking, Art History, Ohio University
Website: http://www.mitcheckert.com

“Still Life with Hydrangea (in blue)” by Mitch Eckert, 30x28in, Archival Pigment Print (2006), $750 | BUY NOW — *“Still Life with Hydrangea (in blue)” by Mitch Eckert, 30x28in, Archival Pigment Print (2006), $750 | BUY NOW*

“Still Life with Lily and Figs” by Mitch Eckert, 24x18in, Archival Pigment Print (2006), $500 | BUY NOW — *“Still Life with Lily and Figs” by Mitch Eckert, 24x18in, Archival Pigment Print (2006), $500 | BUY NOW*

Mixed Media, Sculpture

Vignette: Miranda Becht

Josh Jenkins · July 28, 2017

*"The sweet nostalgic sadness of something lovely and lost. (Order)" by Miranda Becht, 13x68x5in, tinted cast resin, flocking, lace, shelves (2016)*

“An imagination is a powerful tool. It can tint memories of the past, shade perceptions of the present, or paint a future so vivid that it can entice… or terrify, all depending on how we conduct ourselves today.”– Jim Davis, from Garfield “Alone,” October 23, 1989

Artist, Miranda Becht — *Artist, Miranda Becht*

Miranda Becht is having a moment. One of only three students in the University of Louisville’s MFA program at the Hite Institute of Art, she is taking her three degrees and wasting no time positioning herself to have a positive impact in the Louisville and Southern Indiana arts community. This fall, she will be teaching foundation art courses as an Adjunct Professor at Bellarmine University, and be working as a instructor in LVA’s Academy program for high school students. She also has recently been offered an adjunct position at IUS. At the same time, she will a part of the St. James Court Art Show Emerging Artist Program and has been commissioned to create public art through the Jeffersonville Public Art Committee, Powering Creativity.

Becht’s work has largely been installation based, exploring how memory and nostalgia form our idea of the past: “I have always seemed to long for some sort of metaphorical home located somewhere in the past. Homesickness is defined as the longing for a particular home, nostalgia as a longing for a lost time. Nostalgia may carry with it a yearning for home, but it is a home faraway in time rather than space. Nostalgia, oftentimes used to refer to something sweet and pleasant, is bittersweet. It is the longing for something that is unattainable.”

*"I can feel your sweet decay." by Miranda Becht, 38x73x73in, wood, sticker paper, acrylic paint, cast resiin, linoleum, found objects (2017)*

“As a society we tend to idealize our vision of the past, particularly our vision of home. Our idealized notion of home presents itself as a supposedly traditional form of domestic life, but bears little relation to the way people actually lived. This concept of a cozy home full of family love is an invented tradition. Inevitable in our linear understanding of time, we are constantly being uprooted from home and from the past. Because of the fallibility of our memory, the past and home as we remember them, no longer exist. I mourn for a home that perhaps I never had.”

*"The sweet nostalgic sadness of something lovely and lost. (Order) (detail)" by Miranda Becht*

Becht cites “The pleasant, nostalgic sadness of something lovely and lost. I would sit and play with an odd, white vessel, full of wonder about its use and its origin. This vessel seemed so big, so white and pure, so curious. My grandmother told me it was a bedpan, but it wasn’t until much later in life that I realized just what a bedpan was. My most cherished childhood memory is soiled with urine and feces. Lost innocence often takes the guise of idealized memories. My work is a vehicle for my fetishized, fragile memories. I am pressured to be the object of desire… this untrue illusion, the ideal.”

Becht’s work is filled with mid-20th century design layered with a cotton-candy colors (she seems especially fond of pink), which adroitly captures the unique collective memory of what is arguably the most idealized period in modern American history, the 1950’s. The artist reminds us that what seems too good to have been true, often is.

Age: 31
Education: MFA Sculpture, University of Louisville, 2017; BFA Ceramics, Indiana University Southeast, 2012; BA Printmaking, Indiana University Southeast Minor Psychology, 2012
Instagram: https://www.instagram.com/Miranda.indiana/

*"I can feel your sweet decay (detail)" by Miranda Becht*

*"In Hiding" by Miranda Becht, 119x64x24in, wood, cast resin, acrylic paint, shag carpet, embroidery floss, light fixture (2017)*

*"Underside" by Miranda Becht, 96x96x66in, wood, screenprint, cast resin, rug, embroidery floss (2016)*

*"What’s a dream and what is real? (Entropy)" by Miranda Becht, 84x54x6in, wood, cast resin, hydrocal, embroidery floss, lace (2016)*

Drawing

Vignette: Patricia Watson

Josh Jenkins · July 27, 2017

“All my art is in some way about other art, even if the other art is cartoons.” — Roy Lichtenstein

Patricia Watson is a highly motivated educator with a successful track record for teaching art to elementary, middle, high school, and undergraduate students. She is also experienced in coordinating and managing arts programs. As an artist, she has most recently concentrated on illustrations of famous faces.

“I have always enjoyed portraiture drawing and painting. I decided to try high contrast portraits using sharpie markers as my choice of medium. It is permanent - with no margin for error.”

The technique invests even the most ordinary pictures with an iconic sensibility. Some of the subjects lend themselves very easily to this quality – it is arguable that ANY picture of Muhammad Ali or Salvador Dali is inherently iconic and, the portrait of 1970’s songwriter and musician Leon Russell, represents the moment he transitioned from session musician to Pop Star. Watson is affecting a deliberate layer of affectionate kitsch on images of individuals who have risen to a certain status in the Pop Culture firmament, harkening back to a period in which illustration dominated the media. In an age when such things seem all but forgotten, it would not be at all difficult to imagine these images on magazine or album covers. Ask your parents.

*"Ali" by Patricia Watson, 11x14in, sharpie on paper*

Watson also paints traditionally, and has recently been experimenting with abstract painting, but these sharpie portraits are popular with the public, and she is often asked to do commissions using the technique.

Watson is currently teaching at Meyzeek Middle School in Louisville, and she is a former Elementary and Middle Grades Art Instructor, Louisville Visual Art’s Children’s Fine Art Classes (CFAC).

Hometown: Louisville, Kentucky
Education: BA with a major in visual communications, Kean University, New Jersey; MAT - Teaching Art K-12, University of Louisville
Facebook: https://www.facebook.com/artchikdiva/

*"Chris" by Patricia Watson, 11x14in, sharpie on paper*

*"Dali" by Patricia Watson, 11x14in, sharpie on paper*

*"Gregg" by Patricia Watson, 11x14in, sharpie on paper*

*"Leon" by Patricia Watson, 11x14in, sharpie on paper*

Mixed Media, Photography

Vignette: C.J. Pressma

Josh Jenkins · July 25, 2017

"Dangerous Passage" by CJ Pressma, quilt - photographic collage printed on cotton and quilted on a long arm machine $1800 | BUY NOW — *"Dangerous Passage" by CJ Pressma,* *quilt - photographic collage printed on cotton and quilted on a long arm machine $1800 | BUY NOW*

It is the hope of the individual artist to make work that speaks to their time, to influence the world around them. C.J. Pressma has done that – maybe enough for several artists, through his personal work, certainly, but also by operating the Center for Photographic Studies - an alternative school of creative photography, in Louisville in the early 1970’s.

When he founded the Center for Photographic Studies in 1970, Pressma’s initiative was part of what can now be seen halcyon period in Louisville’s creative life. Although open only eight years, the Center’s influence is still felt nearly forty years later. Nearly every photographer above a certain age working in this town seems to have spent time studying there, connecting local commercial and artist photographers with national names in the field such as Henry Horenstein, currently a professor at the Rhode Island School of Design.

"Nightmare in the City" by CJ Pressma, quilt - photographic collage printed on cotton and quilted on a long arm machine, $1800 | BUY NOW — *"Nightmare in the City" by CJ Pressma,* *quilt - photographic collage printed on cotton and quilted on a long arm machine, $1800 | BUY NOW*

On his website, Pressma explains: “The Center provided a learning experience for those seeking to explore photography as creative expression. During its existence the center attracted students from over 35 states and foreign countries to its full-time resident program and provided part-time instruction and darkroom access for hundreds of students in the Louisville metropolitan area. Its two galleries provided monthly photographic exhibits featuring the works of local, regional, and internationally acclaimed photographic artists including Ansel Adams and Minor White.”

Pressma’s work can be currently be seen in Altered Perceptions, an LVA Photo-Biennial Exhibit at Metro Hall, which runs July 17 through January 12, 2018. Some of the images we see here are featured in that show, which also includes work from Mitch Eckert and Jenny Zeller. There are certainly many facets to this artist’s work, but here we view pieces from a period when he printed photographic images and digital graphics onto fabric, allowing him to incorporate them into quilts; a non-traditional photographic presentation tied to a form steeped in tradition.

Pressma enjoyed a highly successful career as a multimedia producer and marketing communications specialist. In 1984, his seven part series Witness to the Holocaust, was released in the U.S. and Canada where it remains in distribution today. Witness to the Holocaust is one of the first productions to use survivor interviews as the exclusive content to tell the story of the Holocaust, and has received numerous national awards.

"Beware" by CJ Pressma, $1800 | BUY NOW — *"Beware" by CJ Pressma, $1800 | BUY NOW*

Pressma has been recognized nationally:

1978 - National Endowment Fellowship in Photography.

1997 - American Advertising Federation’s prestigious Silver Medal Award for “outstanding contributions to advertising and furthering the industry’s standards, creative excellence, and responsibility in areas of social concern.”

2001 - Fellowship by the Kentucky Arts Council.

C.J. Pressma is a graduate of Antioch College and holds an MFA. in Photography from Indiana University. He studied as a special graduate student with Minor White at the Massachusetts Institute of Technology and with Henry Holmes Smith at Indiana University.

Hometown: Louisville, Kentucky
Age: 72
Education: BA, Antioch College; MFA, Indiana University
Gallery Representative: Pyro Gallery (Louisville)
Website: http://cjpressma.com

"Cartoon Weave" by CJ Pressma, 74x76.5in, quilt - photographic collage printed on cotton and quilted on a long arm machine (2008), $1800 | BUY NOW — *"Cartoon Weave" by CJ Pressma, 74x76.5in, quilt - photographic collage printed on cotton and quilted on a long arm machine (2008), $1800 | BUY NOW*

"Cumberland Burial Site" by CJ Pressma, 79x81in, quilt - photographic collage printed on cotton and quilted on a long arm machine (2006), $1800 | BUY NOW — *"Cumberland Burial Site" by CJ Pressma, 79x81in,* *quilt - photographic collage printed on cotton and quilted on a long arm machine (2006), $1800 | BUY NOW*

"Bull & Friends" by CJ Pressma, 72x78in (2008), $1800 | BUY NOW — *"Bull & Friends" by CJ Pressma, 72x78in (2008), $1800 | BUY NOW*

"Secrets" by CJ Pressma, 94x68in, quilt - photographic collage printed on cotton and quilted on a long arm machine (2011), $1800 | BUY NOW — *"Secrets" by CJ Pressma, 94x68in, quilt - photographic collage printed on cotton and quilted on a long arm machine (2011), $1800 | BUY NOW*

"Great Snakes Alive" by CJ Pressma, 88x77.5in, quilt - photographic collage printed on cotton and quilted on a long arm machine (2008), $1800 | BUY NOW — *"Great Snakes Alive" by CJ Pressma,* *88x77.5in,* *quilt - photographic collage printed on cotton and quilted on a long arm machine (2008), $1800 | BUY NOW*