Taking Inspiration From William Shakespeare's Titus Andronicus

"Donald Andronicus, Jr." by Shayne Hull, pastel on board, 2017, $575

When Shayne Hull turns his sardonic eye to public figures, he joins a great tradition of political satirists, such as the legendary Hugh Haynie. Republican Strategist Karl Rove, and President Barack Obama, have all been subjects, and now, partially inspired by the plot of William Shakespeare’s Titus Andronicus, Hull offers portraits of “Mobin Andronicus, Sr.,” “Eric Andronicus,” and “Donald Andronicus, Jr.,” wickedly funny caricatures that strike at both sides of the political aisle and require no pithy caption for their pointed understanding.

Hull’s human heads are often misshapen, so the knack for satire fits him like a second skin, but he also turns his misanthropic perspective on himself, and those whom he holds dear. Self-flagellation in portraiture was not invented by Hull, but few have exposed themselves so ruthlessly on a gallery wall. Barbed wire is a most unforgiving material to wrap a human head, and his own children model adhesive tape and play with wooden rods that are can be suggestive of something more sinister.

On another level, the portraits reveal the malleable plasticity of human form applied absurdly to the skull. Our brains are encased and protected in these rounded shields of bone, and that they are here so easily distorted suggests an awareness of the arrogance by which we take our bodies for granted; a cautionary reminder of our own fragility and the preciousness of life.

Such dark humor may invite squeamishness in the viewer, yet even the most disturbing of Hull’s images (a wooden rod tucked under a boy’s chin) contain a deeply felt humanity; a playfulness that pushes boundaries with what often feels like a child-like sensibility. That quality may come, in part, from his work with young patients at the Kosair Children’s Outpatient Hospital (Louisville, KY) where Hull and his students created a 10′ x 20′ ceramic tile mural.

"Eric Andronicus" by Shayne Hull, pastel on board, 2017, $575

Hull studied painting at Texas A&M and the Maryland Institute College of Art (MICA), and earned a Master in art education from the University of Louisville. The Kentucky Arts Council has honored Hull with the Kentucky Visions 2004 Purchase Award, an Individual Art Professional Development Grant, and the 1998 Al Smith Artist Fellowship. He also won the Frank F. Weisberg Excellence in Painting Award at the 2003 Water Tower Annual (Louisville, KY).

Shaynicus Andronicus, a solo exhibit of Shayne Hull’s work, will be on view at LVA during the performances of Titus Andronicus by Kentucky Shakespeare that runs October 4 – 31 (Thur-Sat 8:00pm), or by appointment through Louisville Visual Art.

Hometown: East Moline, Illinois
Age: 56
Education: BFA in Painting, Texas A&M @ Corpus Christi; MFA in Painting, Maryland Institute College of Art; and MAT in Art Education, University of Louisville
Website: http://www.shaynehull.com/
Gallery Representative: Swanson Contemporary

Scroll down for more images

"Mobin Andronicus" by Shayne Hull, pastel & oil on panel, 18x24in, 2017, $575

"Are We Not Men?" by Shayne Hull, pastel on board, 18x24in, 2014, $575

"Bad at Pool" by Shayne Hull, pastel on board, 18x24in, 2014, $575

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

Painting

Vignette: B.G. Lewis

Taylor Sanders · September 29, 2017

“Painting is a journey where I can explore color and textures, play with brush strokes and create my ‘perfect’ version of the world." - B.G. Lewis

"Twigs and Twine" by B.G. Lewis, acrylic, 11x14in, 2017, $175

B.G. (Bobbie Gayle) Lewis is a self-taught Kentucky artist finding her passion in painting after a professional career in the medical field. The Garrard Community resident enjoys teaching painting classes to children and adults at the Community Arts Center located in Lancaster, Kentucky.

Although she didn’t formally study art, Folk Artist, Janice Miller, was an early mentor for Lewis, as were painters Jerry Yarnelle and Pat Banks. Currently she is studying portraiture with Chantel Barber.

“It started with just one painting. From the beginning an empty canvas stirred my creative juices. Once begun, the painting takes on a life of its own, leading me from hobby to art. Painting fills me with a sense of accomplishment and integrity, and has proven a most amenable vehicle for translating inner vision into outer reality.”

“Although I work quite deliberately, consciously employing both traditional and innovative techniques, my unconscious is the undisputed project manager.
The creative nature of painting frees my imagination and provides many opportunities for happy accidents and grace to influence the finished product.”

“The world around me inspires and invigorates a renewed sense of creativity. Awed by the mystery of how creation occurs, I strive to produce art that represents the world in a ‘perfect’ state.”

"Cardinal Knowledge" by BG Lewis, acrylic, 8x10in, 2017, $150

Even as she develops, Lewis’ work still display her roots in the primitive aspects of Folk Art. In “Cardinal Knowledge” her use of vintage newspapers from 1930's in her background is an individual connection to an aged and nostalgic sensibility, one that connotes pre-World War II America and the Great Depression.

Lewis’ art is on exhibit at Maple Tree Gallery, Boyle County Arts Council in Danville Kentucky as well as the Grand Theater and Garrard Community Arts Center, in Lancaster Kentucky. She has exhibited in multiple shows in Kentucky and has sold her artwork to collectors across the country.

Hometown: Lancaster, Kentucky
Education: Self-taught
Website: garrardarts.com

"Morning Melody" by BG Lewis, acrylic, 11x14in, $175

"Showers of Blessings" by BG Lewis, acrylic, acrylic, 10x24in, $175

Feature: LOOK Gallery Guide 7th Edition

Taylor Sanders · September 27, 2017

People who make decisions are the ones who show up. More than 20 years ago, the ones who showed up in one room decided to form a network of visual art gallery owners and managers with the intention of raising the awareness of the range and diversity of the local art scene. The name Visual Art Network was selected, which provided a catchy acronym – VAN, but several years later the group adopted the elemental title LOOK, coined by founding member Julius Friedman.

On the eve of the publication of the new LOOK Gallery Guide, the language is more formal: “…a professional consortium for local art galleries and museums to promote awareness, growth and success of the visual arts in Louisville,” but the essential mission remains unchanged. 35 members will be featured in the full-color booklet, which will premiere at a Launch Party located at new member 1619 Flux: Art + Activism on September 28. It is a publication designed for out-of-town visitors, available at hotels and visitors centers around the city.

Yet if a local veteran of the arts and culture scene picks one up, they are likely to be surprised by an entry or two. Craft(s) Gallery and Mercantile on South 4th Street opened in 2013, this will be only the second time that Kentucky College of Art + Design at Spalding University have listed their 849 Gallery, and PYRO Gallery will have very recently moved into their new location on East Washington Street.

The guide is dedicated this year to Julius Friedman (1943 -2017) who advocated for many years for the Louisville Metro Government to promote the visual arts in a manner commensurate with the performing arts. Actors Theatre of Louisville, the Louisville Orchestra, the Kentucky Opera, and the Louisville Ballet have enjoyed reputations that carried well outside of the city boundaries, and he was convinced that the visual arts community could be just as effective ambassadors if given the attention in tourist promotions. As a gallery owner and art dealer for most of his professional life, he represented local and regional artists with passion, and was forever frustrated by what he perceived as a lack of attention from city officials.

"Billy Hertz" by Geoff Carr, c. 2004. Courtesy Geoffrey Carr Photography Inc.

One thing you can always count on is that artists will not wait around, they will usually find a way to do for themselves. VAN was born in the 1980’s, with the mailing address given as 3005 River Road, the historic Louisville Water Tower that was the home at that time of Louisville Visual Art (then Louisville Visual Art Association). LVA was a member, as was Swanson Gallery, then on Bardstown Road, Billy Hertz’ gallery, which was on East Market Street long before the phrase “NuLu” was a gleam in the eye of developers, and Zephyr Gallery, the city’s first artist co-op space.

“John Begley (LVAA Executive Director) was President of VAN,” remembers Chuck Swanson, “Ann Makin was treasurer, I was VP, and I believe someone at Art and Craft Museum (now KMAC) was Secretary. We did a very ambitious event called the Walk, Talk, and Gawk Sculpture Strut that had some corporate sponsorship. The next year we did an event where visitors could have a ticket punched at each gallery and those who filled their card were put in a drawing and the grand prize was a $1,500 gift certificate to use at any gallery (and the gallery was reimbursed at wholesale by VAN). There was a huge party at the Tower and something like over 120 cards were in the pot.”

The first published guides were tri-fold affairs with no color photography and visual design based more on a cut and paste aesthetic that was in fashion then. As hard as it may be to believe, digital graphics were almost unheard of back then. When VAN started, LVAA had one Apple Macintosh 128 in the office.

The last several editions have been full-color, glossy paper, staple-bound booklets designed by Elizabeth Spalding of 21Skye Design.

LOOK: Art Guide Launch Party

September 28 / 6:00-8:00pm

At 1619 Flux: Art + Activism
1619 W. Main Street

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.

Painting

Vignette: Richard Shu

Taylor Sanders · September 26, 2017

"Like all great travelers, I have seen more than I can remember and I remember more than I can see" Let me help you "see" what you may not remember and "remember" what you may not see!” - Benjamin Disraeli

"Low Tide in Saint Michel" by Richard Shu, watercolor, 12x14in, 2017, $780

67 year-old Taiwan-born artist Richard Shu calls himself an “urban sketcher.” After a long and noted career as an architect, he documents his extensive travels in watercolor sketches executed with a sure eye for the fundamental design elements of a scene. As a medium, watercolor welcomes certainty in the choice of color and the placement of marks, and Shu’s careful study of his subjects is evident in the work, an almost naïve application that expresses a sophisticated sensibility.

Shu views his paintings as an ongoing document of his life experience “My art is part of my journey through watercolor, I travel, sketch and paint the image and space that I see.” The images have an immediacy about them that reinforces the idea of a sketchbook, or perhaps even closer to a diary, capturing impressions of a time and place with a brush instead of words.

“I started my journey when I was 12 years old, when my parents sent me to Guayaquil, Ecuador from Taipei, Taiwan. It was in Ecuador that I started to study architecture, but finished my undergraduate study in Madrid, then was accepted to the University of Pennsylvania for my graduate studies. After graduating, I found work in Chicago with the international firm of Skidmore, Owings & Merrill. I moved to Louisville in 1982, worked for a local architectural firm for 2 years, then started my own Design Build firm and practice till 1999. In 2000 I transitioned into a total different career in the investment field. I am retired now and back on exploring the creative passion that I missed for so long.”

Name: Richard Shu
Age: 67
Hometown: Louisville, Kentucky
Education: MA, Architecture, University of Pennsylvania.
Website: richardshuarts.com
Instagram: mistashu

"The Harbor" by Richard Shu, watercolor, 12x14in, 2017, $800

"Low Country" by Richard Shu, watercolor, 12x14in, 2017, $780

"El Capitan" by Richard Shu, watercolor, 14x14in, 2017, $850

Ceramics

Vignette: Alex Adams

Taylor Sanders · September 22, 2017

“I am an artist who values the power of community.” – Alex Adams

Clay is among the most malleable of three-dimensional mediums. It is both strong and supple. A form can be drawn from a lump on the wheel into a sturdy yet graceful form of high functionality, but onto that impressionable surface, textures and decorative motifs can be so easily imposed. Alex Adams has been using a stamp technique that leaves behind sharp corners that violate the visual integrity of the surface in a manner that hints that the structural integrity might also be compromised, but nothing could further from the truth.

“I am a ceramic artist. I make pottery that is crafted with great scrutiny. Articulated forms are designed with a function in mind; wooden potter’s tools and artist-designed stamps bring each piece to life. Subtle glazes break over stamp impressions to expose the creative energy that is stored in each handmade object. I am an artist who values the power of community, our ability to learn from each other, positive encouragement, and support. These are the things that have made my career possible and I reciprocate these values at AA Clay Studio & Gallery.”

"Vase" by Alex Adams, Ceramic, 10x6x6in, 2017, $70 — "Vase" by Alex Adams, Ceramic, 10x6x6in, 2017, $70

Adam’s work is functional, but there is room for wit. In a pair of vessels he titled, “Cupple,” the two bowls are very much alike, except that one shows a protrusion that would appear to fit perfectly into an indentation in the companion piece. There is a play on both words and on form that suggests a commentary on gender fluidity. Or perhaps a ceramic bowl is just a ceramic bowl.

In spring 2017 Adams was a recipient of an Artist Professional Development Grant from the Great Meadows Foundation. Through October 10, Adams will have an item on display for the Louisville Clay Jury show at Mantle Gallery, located at the Mudworks location on Barret Ave. His work can also be found at AA Clay Studio & Gallery, of which he is owner/proprietor and where Louisville Clay artists are featured in an exhibit during the months of September and October.

AA Clay Studio & Gallery will offer a 2-day Raku workshop in October for Intermediate to Advanced students.

Make: Saturday 10/14 (1:00-3:00 PM)
Fire: Saturday 10/21 (5:00-8:00 PM)

Registration can be made through the studio’s website: aaclay.com

"Cupple" by Alex Adams, Ceramic, 3x3.5x3.5in, 2015, $50 for set — "Cupple" by Alex Adams, Ceramic, 3x3.5x3.5in, 2015, $50 for set

Hometown: Louisville, KentuckyEducation: BA, ceramics, Berea College, 2008
Website: aaclay.com
Instagram: aaclaystudio

"Vase" by Alex Adams, Ceramic, 5.5x4.4x4.5in, 2017, $55 — "Vase" by Alex Adams, Ceramic, 5.5x4.4x4.5in, 2017, $55

"Batter Bowl" by Alex Adams, Ceramic, 5.5x 8.5x6in, 2017, $45 each

"Canister Set" by Alex Adams, Ceramic, 6x6x6in - 4x4x4in, 2016, $120 for set of three — "Canister Set" by Alex Adams, Ceramic, 6x6x6in - 4x4x4in, 2016, $120 for set of three

Vignette: Shayne Hull