Contemporary Art

Josh DeWeese Artist Talk at Radius Gallery

Josh DeWeese’s work exudes ceramic wonder: artfully designed, painstakingly crafted, and ultimately given over to the whims of the kiln. He is drawn to the beauty and mystery of high temperature ceramics, to the elements of chance that occur in the firing, to the subtle qualities of raw clays and the vibrant depths of transparent glazes. His pottery summons us to touch, melding art and utility, asserting the gravitas of raw earth into our curated spaces.

DeWeese is currently a Professor of Art teaching ceramics at Montana State University in Bozeman, where he and his wife Rosalie Wynkoop have a home and studio. He served as Resident Director of the Archie Bray Foundation for the Ceramic Arts in Helena for 17 years. He holds an MFA from the New York State College of Ceramics at Alfred, and a BFA from the Kansas City Art Institute. DeWeese has exhibited and taught workshops internationally and his work is included in numerous public and private collections

Sky Above | Earth Below is now on display until April 17th, 2021

View Josh DeWeese's work:
Virtual Tour of the exhibition:
All artworks in the exhibition:

CLAIRE OLIVER – Beth Cavener Stichter

Beth Cavener Stichter

Beth Cavener Stichter addresses controversial, potentially
embarrassing subject matter head on and in direct opposition to the
reputation of her chosen medium, clay. By employing this classical
genre and emphasizing its primitive and raw characteristics, Cavener
Stichter intentionally provokes art-world prejudices. The Artist thrives in
the depiction of the provocative, blatantly contradicting the traditional
and comfortable uses of her medium and imagery. Cavener Stichter
explores child abuse, pornography, self loathing, and insecurity
through elegantly crafted goat, hare, and hound proxy. "I select
animal subjects," she says, "since the animal body is removed just
enough from my own to establish a distance, yet the personal
relationship is irresistible . . . Here, I become far enough away from
myself to unravel questions previously tangled in a self-conscious
quagmire."

Cavener Stichter cajoles the viewer into looking at the darker side of
the human condition by cloaking it in animal skin. "There are primitive
animal instincts lurking in our own depths, waiting for the chance to
slide past a conscious moment. The sculptures I create focus on
human psychology, stripped of context and rationalization, and
articulated through animal forms. On the surface, these figures are
simply feral and domestic individuals suspended in a moment of
tension. Beneath, they embody the impacts of aggression, territorial
desires, isolation, and pack mentality. I want to pry at those
uncomfortable, awkward edges between animal and human."
By manipulating the properties of clay, the Artist achieves an eloquence
of form and surface unattainable through the use of other mediums.
Despite the fluid, ethereal appearance of her completed works, the
process of construction is painstakingly delicate and time consuming.
Cavener Stichter's primary tool is her own body; she employs the human
form as a scale of relative measurement, and her muscles and mass to
carve and shape the colossal amounts of raw material necessary in her
studio practice. Working from a maquette, she creates her sculptures
from a solid block of clay, her broad, sweeping, gestural passages
leaving their energetic motion behind. She then cuts the work into small
sections, severing the limbs and torso at various points of motion. Each
slice is hollowed out and gently reworked so that the straining of the
muscle and the articulation of skin and fur are brought to life. Inch by
inch this process is repeated, each section being attached to the prior;
an exacting labor which takes months to complete. The Artist says that
she has "learned to read meaning in the subtler signs; a look, the way
one holds one's hands, the tightening of muscles in the shoulders, the
incline of the head, the rhythm of a walk, and the slightest unconscious
gestures. I rely on the animal's body language in my work as a metaphor
for underlying consciousness, transforming the animal subjects into
human psychological portraits."

Cavener Stichter creates frank discussions with her viewer through
anthropomorphic sculpture and a dispassionate objectification of her
subjects. She is cognizant of the danger that the realism of her
creatures and her deliberate choice of a "Martha Stewart color palette"
can encourage: the worst kind of sentimentality. The Artist hopes that
by inducing the viewer to acknowledge their own uncomfortable darker
side, she can inspire a greater understanding of those disparities that
divide our societies today. "The figures are feral and uneasy," she says,
"expressing frustration for the human tendency towards cruelty and lack
of understanding. Entangled in their own internal and external
struggles, my figures are engaged with the subjects of fear, apathy,
violence and powerlessness."

TEXT COURTESY OF:

Claire Oliver Gallery
513 West 26th Street
New York, NY 10001

Telephone: (212) 929-5949
Fax: (212) 255-4699
Info@ClaireOliver.com

Hours of Operation
Tuesday-Saturday 10:00 am – 6:00 pm

VIDEO BY:
O'Delle Abney, Artist / Agent
NYC GALLERY OPENINGS.COM
info@nycgalleryopenings.com

Adrian Arleo | Dog Days at Radius Gallery

Adrian Arleo | Dog Days

16 July – 4 September 2021

Radius Gallery is honored to present new works by masterful ceramics artist Adrian Arleo. Fusing and juxtaposing human, animal and natural imagery, Arleo explores the vital interconnections between the human and non-human realms. Her sculptures are alluring and enigmatic, thoughtfully conceived and brilliantly realized.

Artist Statement:

For 40 years, my sculpture has combined human, animal and natural imagery to create a kind of emotional and poetic power. Often there's suggestion of a vital interconnection between the human and non-human realms; the imagery arises from associations, concerns and obsessions that are at once intimate and universal. The work frequently references mythology and archetypes in addressing our vulnerability amid changing personal, environmental, and political realities. By focusing on older, more mysterious ways of seeing the world, edges of consciousness and deeper levels of awareness suggest themselves.

The majority of the pieces in this exhibition were created within the past two years. And while the new work is not about the pandemic per se, it clearly had an influence over my mindset. The small “Outcropping Figures,” for example, were created during the time we were all under stay-at-home orders. I wanted to suggest the precariousness and isolation of that period, and the experience of trying to patiently wait it out.

Another sculpture that touches on the isolation of that period is the onetitled “Internal.” The long bands of the figure’s hair encapsulate another human being. Because of the fetal position of the inner figure, one might initially assume it’s an infant, but it is instead another adult female. That figure is meant to suggest an interior world, its star-speckled surface alluding to a kind of vastness that can be found inside ourselves.

The title for this exhibition, “Dog Days,” has multiple references. July and August are commonly known as the dog days of summer. Historically the term came from the period following the heliacal rising (relating to or near the sun) of the star system Sirius, also known as the Dog Star, which Hellenistic astrology connected with heat, drought, sudden thunderstorms, lethargy, fever, mad dogs, and bad luck. Looking back, the past eighteen months really have been a kind of extended period of dog days. The pandemic certainly brought on lethargy, fever and terrible luck for some. It’s also been a time when we’ve relied deeply on the company of our animals, particularly dogs. This is a theme that’s touched on in a number of the sculptures in the exhibition. In “Apparition II,” for example, the figure seems to be conjuring a leaf-covered dog. That leafy surface extends from a series I did a few years ago based on Kuan Yin (Guanyin), the Buddhist bodhisattva of compassion. Adding that reference to the dog accentuates the comforting nature of its presence. The devotion and companionship of dogs can be one of most meaningful non-human relationships that a person might experience. These kinds of relationships nurture our appreciation of the value and importance of life beyond the human realm.

Artist Biography:

Adrian Arleo has spent the last 29 years living and working as a full time sculptor in Lolo, Montana, with her family and a menagerie of animals. She was born in NY and spent many years on both coasts before making Montana home. Adrian studied Art and Anthropology at Pitzer College and received her M.F.A. in ceramics from Rhode Island School of Design. She was an Artist in Residence at Oregon College of Art and Craft in 1986-87, at Sitka Center For Art and Ecology in 1987-88, and in 2012 was an invited artist for the Jordan Schnitzer Printmaking Residency, also at Sitka Center for Art and Ecology.

Adrian’s work is exhibited nationally and internationally, and is in numerous public, private and museum collections. She received awards from the Virginia A. Groot Foundation in 1991 and 1992, and in 1995 was awarded a Montana Arts Council Individual Fellowship. Her work has been widely published in books, magazines, and on the internet. Adrian is a frequent workshop instructor across the US and abroad, and enjoys teaching courses on figurative ceramic sculpture.

About the gallery:

Radius Gallery is a contemporary art gallery in downtown Missoula, Montana dedicated to showcasing the skills of contemporary artists as well as fostering an energetic forum for discussing art and its vitality in the world today.

Contact: Lisa Simon, owner
Hours: Tues-Fri 11-6;Sat 11-3
Gallery closed Sundays & Mondays

120 North Higgins
Missoula, MT 59801
Phone (406) 541-7070
Email info@radiusgallery.com
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Website

Art Auction 2020: René Martucci on Her Work

Ceramic artist René Martucci discusses her hand-built sculptures and the unpredictable nature of her work featured in the Pence Gallery's Art Auction, titled "Orange Dog on Blue Brick".

To bid on this work and to support the Pence in this year's auction, register to bid at www.pencegallery.cbo.io.

René's Website:

Ron Nagle: The sculptural language of hair loss

San Francisco artist Ron Nagle discusses his suspicion of the language used to describe ceramics and art in general. He reflects on his oblique strategies for titling his works, and reveals how Donald Trump’s “beyond description” hairdo relates to his sculpture Vanity Scramble (2011).

Related Ideas:
Ron Nagle in depth:
Repurposing culturally-loaded ceramic objects:

Ron Nagle on the ceramic “revolution”

Born and raised in San Francisco, sculptor Ron Nagle describes working with his mentor, local legend Peter Voulkos, to break the mold of traditional ceramics and usher in a new approach to the medium. Nagle, who has been creating objects since childhood, discusses how his style has changed over the years and offers some sage advice to the creative community.

Related Ideas:
Ron's artwork about vanity & hair loss:
The advice that made Etel Adnan an artist:

Studio Visit with Ceramic Artist Jenny Hata Blumenfield | Christie’s

Los Angeles-based mixed-media ceramic artist Jenny Hata Blumenfield helps us reconsider the place of ceramics and pottery in contemporary art. ‘I see clay as having the widest range of expression,’ she explains. ‘By working with it the way that I do, I hope that steadily people will start to receive this idea of ceramics or clay as something beyond just functional.’

Blumenfield incorporates Lucite, an acrylic resin, into some of her works. In this short film, she describes transforming a two-dimensional drawing into a three-dimensional sculpture, which truly comes into its own when taken outside.

One of the most striking aspects of her process is her embrace of division, dissection and separation.
‘Being half-Japanese and half-American, I always felt stuck between two cultural identities,’ she explains. ‘I’m these two halves that really can’t seem to connect — I just exist in the in-between.’

But there is a second duality at play here, too. ‘I just would love to cut everything in half or into quarters just so that I can continue to break down this idea that ceramics can only be functional and can only be used in a day-to-day setting.’

‘That allows me to really incorporate other materials — Lucite, wood, paper, photographs — because it takes away the formalism of the vessel itself, and allows me to get experimental.’

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