Special, Photography

Feature: PYRO Relocation

From The Firehouse to The Butcher Block: PYRO Gallery On The Move.

It was christened PYRO because it made its first home in a converted firehouse on Hancock Street nestled along Nanny Goat Strut. Yet it has always seemed a good name for an artist’s cooperative: a word suggesting the fire of inspiration but also containing a note of danger. As the members prepare to move into their fourth home at 1006-1004 East Washington Street, they seem poised to rediscover the upstart nature of their beginning.

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From the firehouse they relocated to the former Chapman-Friedman Gallery on West Market Street, one of the most beautiful gallery spaces in town, with high ceilings and polished wood floors. The location felt premium, but the traffic didn’t match the mission. Too many tourists carrying miniature bat souvenirs from the nearby Louisville Slugger Museum and Factory and not enough art collectors.

Meanwhile, 10 blocks east on the same street an explosion of restaurants, local retail, and galleries called NuLu was happening, gaining national attention with coverage in the New York Times. PYRO joined in by moving to a space in the 909 East Market building. It was an effective exhibition space, but positioned away from the street in an L-shaped structure, it was hidden from view to passing traffic.

“If we had been one block west it might have made all of the difference,” laughs James “Chip” Norton. Norton has been conducting a tour of the new location, which still needs a lot of work, some of which will take a period of months to complete. As opposed to the idea of a large, single gallery, the new location is actually two adjacent buildings that will house five separate exhibition spaces for PYRO, as well as a home for DE Gallery Boutique, which has shared space with PYRO at 909 East Market. The two will be connected by an addition whose construction is currently underway, the foundation blocks still visible as of this writing. Beyond this is a common outdoor area that the building’s owner, Andy Bleiden, is planning on developing in such a way that it will connect with the businesses on the equivalent block on Main Street, Hi-Five Doughnuts, and Pho Ba Lu.

"Untitled #1" by Keith Auerbach, archival digital print, 2017

"Untitled #1" by Keith Auerbach, archival digital print, 2017

“This community - which is named Butcher Block - consists of several renovated National Historic homes and is a family of retailers, galleries and restaurants that work together to promote their members,” explains PYRO member Debra Lott. “The Butcher Block businesses will be connected by a green space in the center and we believe it will become a destination for tourists and local customers for a unique, relaxing, shopping experience.”  

Despite the broken up space, Norton states, “Once we are finished I think we will have pretty close to the same linear square feet that we had in the previous location, but it will be easier to have multiple exhibits when we choose.” There will also be a full working kitchen, which will help facilitate public events.

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PYRO Gallery was founded in 2003 by CJ Pressma, Marilyn Whitesell, Debra Clem, Erin Devine, Susan Gorsen, Michael Brohm, David Modica, Cean Peevey-Rosenthal, Mitch Eckert, Keith Auerbach, and Susan Moffett, who is still a member and very excited about what she sees as potential and possibilities: “Potential in that, this "Butcher Block" area will be a destination once all the development is complete - Butchertown is blooming! And possibilities in that having several smaller galleries will allow us to have more exhibits up by different people, perhaps some guests of PYRO. Not to mention some fun and challenging installation/performance artwork.”

PYRO Gallery’s FINAL show in its current location, 909 E. Market St., is a group exhibit featuring members and several invited guest artists. PYRO Squared, through August 26.

The current membership consists of: Debra Lott, Jeffrey Skinner, Bette Levy, Mike McCarthy, Susan Moffett, Guinever Smith, Bob Lockhart, C J Pressma, James Norton, Claudia Hammer, Corie Neumayer, Nancy Currier, John McCarthy, Keith Auerbach, Beverly Glascock, Shawn Marshall, Julia Davis, Kathy Loomis, Leslie Anglin.

The first show in the new space will be Experimenting with Light by Keith Auerbach. It will run September 7 through October 21, with an opening reception September 7 from 5 to 9pm. The exhibit will be part of the 2017 Louisville Photo Biennial. PYRO will also be open for the First Friday trolley Hop on October 6.

PYRO has a Grand Opening planned for December of 2017 - exact date to be announced.

"Untitled #3" by Keith Auerbach, archival digital print, 2017

"Untitled #3" by Keith Auerbach, archival digital print, 2017


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This Feature article was written by Keith Waits.
In addition to his work at the LVA, Keith is also the Managing Editor of a website, www.Arts-Louisville.com, which covers local visual arts, theatre, and music in Louisville.


Entire contents copyright © 2017 Louisville Visual Art. All rights reserved.

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Painting

Vignette: Margaret Archambault


“The power of what we see and how it alters our ability to find what we consider ‘happiness’ is something I find challenging and worth exploration.” – Margaret Archambault


Archambault's studio

Archambault's studio

In her 6th solo exhibit, In Ten's; A Single Century to Live, which opens on October 6th at Tim Faulkner Gallery, Margaret Archambault examines perception and mortality: “In essence, we measure our lives in 10 decades of experience. Some of us don't reach that 10th decade, but we all see our ‘life-time’ as potentially 100 years. Our personal perspective evolves through these years and our expectations related to happiness and fulfillment either becomes satisfied or we are left perpetually wanting. It is my goal with this new series to demonstrate the fallacy of the world being sold to us and focus on the world we can create within ourselves.”

Illusion versus reality is a frequent theme in art, but does it challenge our sanity to question the perception of our own existence. Archambault posits the opposite, that we are already inured from reality by the insulating cocoon of mass media. Her busy, kinetic compositions emulate in analog fashion the unyielding assault of visual information that we weather on an almost constant basis in our daily lives.

"We Are What We Were" by Margaret Archambault, 60x84in, oil and spray paint on canvas (2017)

"We Are What We Were" by Margaret Archambault, 60x84in, oil and spray paint on canvas (2017)

In “We Are What We Are,” Archambault breaks the pattern of dense collage slightly with the placement of one dominant figure, a 1920’s style woman representative of a pre-digital culture, but in a posture bent under the weight of 10 years of technological development.

“Regardless of our desires and often in direct defiance of our ‘plans’ the revolutions of time and the changes that come with it lead us to the revelations that alter our paths. My newest collection, the Silk Screen Series has a universal message about how our lives are affected by the world around us. More often than not, we make decisions based on what we think is expected of us, or what someone else wants us to do. These decisions often lead to destinations we never expected and only after we have arrived do we recognize the folly.”

Hometown: South Bend, Indiana
Education: BA, Interdisciplinary Humanities with Art Focus, Summa cum Laude, Spalding University, 2007
Gallery Representation: Tim Faulkner Gallery (Louisville)
Website: http://www.archambault-art.com
Instagram: http://instagram.com/margaretarchambault

"A Book of Life" by Margaret Archambault, 60x84in, oil and spray paint on canvas (2017)

"A Book of Life" by Margaret Archambault, 60x84in, oil and spray paint on canvas (2017)

"It's What You See, Not What You're Shown" by Margaret Archambault, 32x23in, oil and spray paint on canvas (2016), $850 | BUY NOW

"It's What You See, Not What You're Shown" by Margaret Archambault, 32x23in, oil and spray paint on canvas (2016), $850 | BUY NOW

"Celebration" by Margaret Archambault, 60x84in, oil and spray paint on canvas (2017)

"Celebration" by Margaret Archambault, 60x84in, oil and spray paint on canvas (2017)

Written by Keith Waits. Entire contents copyright © 2017 Louisville Visual Art. All rights reserved.

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

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Painting

Vignette: Devan Horton


“By questioning and altering our perceptions of beauty, these works open our minds to accept the nontraditional.” – Devan Horton


"Puff Ball Mushrooms" by Devan Horton, 24 x 24in, oil on panel (2017), $800 | BUY NOW

"Puff Ball Mushrooms" by Devan Horton, 24 x 24in, oil on panel (2017), $800 | BUY NOW

The closer we look at nature, the more it can seem alien to us. The word mushroom conjures up a simple shape, earthy in texture and pungent in aroma, with little or no color, yet Devan Horton’s paintings present a range of beauty and organic form far away from that cliché.

“Nature has always inspired my work in both concept and form, therefore the majority of my pieces are environmentally centered and are about naturally occurring phenomena and behaviors. With that said, the direction of my work has seen an evolution. Where the focus was once on live subjects such as swarms of animals, insects, and plants in order to portray an active idea, I slowly transitioned into making work about dead matter and elimination.”

Horton refers to her subject here as “dead matter,” yet there is such vibrant life in these images. However inert the reality, the artist’s viewpoint imbues the organic forms with the same living pulse that she explored in her previous work.

"Orange and Blue Mushroom" by Devan Horton, 24 x 24in, oil on panel (2017), $800 | BUY NOW

"Orange and Blue Mushroom" by Devan Horton, 24 x 24in, oil on panel (2017), $800 | BUY NOW

"Pink and Green Mushrooms" by Devan Horton, 24 x 24in, oil on panel (2017), $800 | BUY NOW

"Pink and Green Mushrooms" by Devan Horton, 24 x 24in, oil on panel (2017), $800 | BUY NOW

“Today, my work discusses themes of rebirth by portraying new life growing from the source of fallen trees. Pulchritudinous is a series of fungi paintings that displays the sheer variety of species and beautiful patterns that hail solely from our local area. Fungus has never been revered for being beautiful, but by taking a closer look at these magnificent recyclers, the viewer is forced to see the intricate patterns and wide spectrum of color that was there all along. Even the word Pulchritudinous is an ugly term at first sight, but quite literally means “something of great physical beauty”. By playing with techniques that make objects appear more attractive, all of my work revolves around a change in perspective by viewing that which we look at negatively in a new light.”

Horton currently has solo exhibition at Perennial Gallery, 625 Madison Ave, Covington, Kentucky, through August 20, 2017

Age: 23
Hometown: Covington, Kentucky
Education: BFA, Painting, Northern Kentucky University, 2016; while in school participated in a study abroad to Rome and Florence Italy.
Website: http://www.devanhorton.com
Instagram: https://www.instagram.com/hortondevan/

"Split Gill Mushroom" by Devan Horton, 24 x 24in, oil on panel (2017), $800 | BUY NOW

"Split Gill Mushroom" by Devan Horton, 24 x 24in, oil on panel (2017), $800 | BUY NOW

"Turkey Mushroom" by Devan Horton, 24 x 24in, oil on panel (2017), $800 | BUY NOW

"Turkey Mushroom" by Devan Horton, 24 x 24in, oil on panel (2017), $800 | BUY NOW

Written by Keith Waits. Entire contents copyright © 2017 Louisville Visual Art. All rights reserved.

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

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Mixed Media

Vignette: Ann Stewart Anderson

"Callie" by Ann Stewart Anderson, 16x12in, cut paper mosaic (2017)

"Callie" by Ann Stewart Anderson, 16x12in, cut paper mosaic (2017)

The Answer Is Sisterhood

It was recently announced that Anderson is one of the recipients of the 2017 Al Smith Fellowship. The prestigious award, named in honor of former arts council chair and Kentucky journalist Al Smith, recognizes professional artists who have reached a high level of achievement in their careers. Since its beginning in 1983, the program has provided more than $2.5 million in funding to artists in the visual arts, literary arts, media arts, composing and choreography. In this round of funding, the fellowships were awarded to artists in the choreography and literary arts disciplines.

Ann Stewart Anderson has been working with assemblage techniques through the use of various media for several years, but most recently she has been using paper, specifically images and textures pulled from art magazines. Now she utilizes the approach in a new series that seems consistent with the style and themes of the Wonderful Old Women (W.O.W.) series, yet there is a new political commentary that has come into play.

“It has been almost a year since I got the idea of creating Sisters,” explains Anderson. “Since then I have made seven TEFFUBUD sisters, three GAMTRA sisters, four NACIREMA sisters, three DEMARF sisters, and I am just now putting the final touches on the last group of as yet unnamed sisters.”

“This new concept pushes me to develop more complex images. The NACIREMA sisters, (Hint: read it backwards), inspired by a portrait of Donald Trump illustrated in  last November’s Art In America, is a visual statement about presidential politics. Each woman represents an American state: Minnie, Minnesota; Dela, Delaware; Flora, Florida and Callie, California. All are dressed in black and, hidden away in the composition there are upside down American flags. And, as you can see, all have some characteristics of the face of Trump which literally is under the transforming layers of paper glued over it to create these sisters. I will continue to make more siblings as long as I can find inspiration and material, which is pretty easy thanks to my local bookshop and friends for whom I am delighted to recycle their discarded art magazines.”  

"Dela" by Ann Stewart Anderson, 16x12in, cut paper mosaic (2017)

"Dela" by Ann Stewart Anderson, 16x12in, cut paper mosaic (2017)

The use of the inverted flag references the U.S. military protocol for flying the flag upside down as a warning to approaching troops. In the past, Anderson, has expressed social commentary through the use of Classical Mythology in her paintings, almost always with a vital feminist undercurrent, yet the political message in these images is expressed with even greater subtlety. Anderson’s use of collage has developed even more, with some of the textures and compositions in “Dela”, for example, recalling her previous work with mosaics. 

Anderson ‘s new series is making its public debut in Sisters: A Family Resemblance, a solo show concurrent with the Painting II show at Galerie Hertz, both running through September 2, 2017.

"Moira" by Ann Stewart Anderson, 16x12in, cut paper mosaic (2017)

"Moira" by Ann Stewart Anderson, 16x12in, cut paper mosaic (2017)

 Anderson’s work can be found in several corporate collections including:

Drake Hotel, Chicago
Turtle Wax Company, Chicago
Hyatt Regency Hotel, Louisville
Brown Foreman Distillers
Atlantic Richfield Corporation
Evansville Museum of Arts and Science
Alabama Power Company
Central Bank, Lexington
Hilliard Lyons, Louisville
Cleveland Clinic
Makers Mark Distillery

Hometown: Louisville, Kentucky
Age: 82
Education: BA, Wellesley College, MA, American University
Gallery Representative: Galerie Hertz (Louisville)
Website: http://www.annstewartanderson.com

"Enid" by Ann Stewart Anderson, 16x12in, cut paper mosaic (2017)

"Enid" by Ann Stewart Anderson, 16x12in, cut paper mosaic (2017)

"Minnie" by Ann Stewart Anderson, 16x12in, cut paper mosaic (2017)

"Minnie" by Ann Stewart Anderson, 16x12in, cut paper mosaic (2017)

Written by Keith Waits. Entire contents copyright © 2017 Louisville Visual Art. All rights reserved.

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

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Digital

Vignette: Joyce Goldin


“The dog is the perfect portrait subject. He doesn’t pose. He isn’t aware of the camera.” – Patrick Demarchelier


"Murphy" by Joyce Goldin, digital painting (2013)

"Murphy" by Joyce Goldin, digital painting (2013)

Drawings of domestic animals may not reach the loftiest heights of fine art, but they connect with the wider population in important ways. Dog lovers are famous for commissioning portraits of their beloved companions, and, in her latest work, Joyce Goldin has been rendering them digitally.

Goldin has been drawing and painting most of her life, but her love of dogs has led her into a series of digital canine portraits rendered with the plasticity of paint. After layering color in loose, organic fields reminiscent of watercolor, Goldin applies a very kinetic line to define the shape and give the image some detail. A translucent aspect lends the images the quality of having been painted on glass, which makes the warmth and expressiveness given to each individual canine all the more striking.

Hometown: Louisville, Kentucky
Education: BS, Occupational Training and Development, University of Louisville
Website: http://www.fineartamerica.com/profiles/joyce-goldin.html

"Beagle" by Joyce Goldin, digital painting (2017)

"Beagle" by Joyce Goldin, digital painting (2017)

"Frenchie" by Joyce Goldin, digital painting (2014)

"Frenchie" by Joyce Goldin, digital painting (2014)

"Starr" by Joyce Goldin, digital painting (2000)

"Starr" by Joyce Goldin, digital painting (2000)

"Tom" by Joyce Goldin, digital painting (2000)

"Tom" by Joyce Goldin, digital painting (2000)

Written by Keith Waits. Entire contents copyright © 2017 Louisville Visual Art. All rights reserved.

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

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