I was a bit behind the curve when it came to checking out The Object of Nostalgia, up through this Saturday, February 12th at Columbia College’s A+D Gallery, having only learned about it last week in conjunction with the CAA panel on the same topic. The show’s central organizing question–what is worthy to speak about when one is making “important” art?–is of great personal interest (I’m also keen to apply that same question to criticism, but that’s another post). So any exhibition that takes an unapologetic look at our (so-called) “nostalgic” connection to the object in contemporary art-making, or as the curators put it, contemplates the nature of “sentimentality and its conflicted relation to contemporary art” is a most welcome thing for me to behold and overall, a project to which I’m pretty much automatically sympathetic.
Curators Rene Marquez and Lance Winn invited four artists to participate in the show, and asked each of them to select another artistÂ whose work resonated with the exhibition’s themes. This all worked quite well, and the result is an exhibition filled with strong pieces, in which aesthetic genres such as portraiture, ceramics, the family snapshot (framed and resting on shelves, no less) and even 19th century dog paintings make a return. I especially liked Dawn Gavin‘s altered paper map pieces, which serve to remind us that in the age of augmented reality, the two dimensional map has already gone the way of the LP record. Although I tend to think maps alone are compelling enough to contemplate as-is, Gavin’s delicate incursions into the map-as-physical object changed my mind. They’re surgically precise yet seem to tremble with unspoken feeling.
I also thought Clayton Merrell’s paintings were terrific (the one featured in the catalogue is actually not in the show). They’re old fashioned plein-air type landscapes in oils and egg tempera, but their surfaces have been brushed over, scratched and scraped and otherwise distressed, if you will, in a manner that suggests a desire to caress the surface, perhaps to the point of being unable to leave it alone.
What’s more, Merrill adds all manner of abstract geometric as well as biomorphic forms to his open skyscapes–sunbursts, droplets, along with numerous fractal elements that skitter and unfold and otherwise ladder their way across his compositions.Â Like all great paintings, Merrill’s look better in real life than they do in reproduction, so try and see them in person if at all possible.
There’s not a single bad piece in the show. I would, however, have liked to have seen a lot more of Julia Lothrop’s tiny oil portraits — there are only two on view here, not enough to make the impact that I’m betting a whole long row of them would have made. Also: if this is the same Julia Lothrop who is a RISD alumni and makes cloth dolls out of vintage fabric — someone made a very grave error in not including those dolls in this show as opposed to the more acceptable little oil paintings. I shouldn’t have to elaborate why – take another look at the show’s main argument. But if it’s not the same Julia Lothrop, then, uh, scratch that.
I also liked Elaine Rutherford’s installation very much, but wished that the small video screen of lapping waves wasn’t part of it. It’s not that I’m against the presence of technology in a show like this, I just didn’t want my attention to be taken away, even for a second, from the gilded porcelain cabbage leaves strewn on the wooden shelf before me. Read more
February 10, 2010 · Print This Article
This College Art Association panel and accompanying exhibition at Columbia College’s A+ D Gallery looks super-interesting. The CAA panel takes place tomorrow, Thursday February 11th, from 2:30-5:00pm. Afterwards, there will be a reception and a curator’s talk at the A+D Gallery from 5 to 8pm.
The Object of Nostalgia
Curated by RenÃ© Marquez and Lance Winn
January 14 – February 20, 2010
February 11th, 5-8 pm
Closing Reception with a curators’ talk at 6:30 pm
“Could it be that the Avant Garde, still the dominant discussion in new art, and the self-anointed â€œbreakerâ€ of cultural aesthetic rules, has been the creator of a great number of tacit laws that govern the landscape of contemporary art? What is worthy to speak about when one is making â€œimportantâ€ art? The Object of Nostalgia contemplates the nature of â€œsentimentalityâ€ and its conflicted relation to contemporary art. Each of the artists represented copes with nostalgia and the condition of longing in a unique and personal way, eschewing both the cold, universalist demands of Modernism and the distanced superficiality employed by Postmodern practices in favor of personal investigation, private narratives, and the full breadth of creative tools and language available to the artist.
Featuring Marlene Alt, Brian Bishop, Pamela Fraser, Dawn Gavin,Kathy High, Greg Hopkins, Erika Leppmann, Julia Lothrop, Clayton Merrell, Elaine Rutherford, and Raychael Stine.