“I think of art as making a statement about the artist’s time and place and/or turning points in techniques and tools that give the next generation of artists a new outlook.” — Sid Webb

"Skipping" by Sid Webb, 10x27in, photograph (2011), $89 | BUY NOW — *"Skipping" by Sid Webb, 10x27in, photograph (2011), $89 | BUY NOW*

Sid Webb creates in a variety of mediums, and today we see some of his photographs. “I have taken nearly 100,000 photographs,” claims Webb, “and although I am tempted by beaches, mountains, sunsets, and sunrises and their breath-taking beauty as much as anyone, I rarely find lasting substance in such images. We can count the significant landscape photographers on one hand. Landscape painters fare a little better because technique and interpretation come into play.”

Webb prefers people as subjects for his camera. Here we see a young boy approaching a large 17th-century canon at Castillo de San Marcos in St. Augustine with appropriate trepidation, sheepishly inching his foot forward, a look eager anticipation mixed with supreme caution on his face. The shot is from a distant, raised point-of-view, and if the child had a clue he was being photographed, would he have been so expressive?

"Cigar Roller" by Sid Webb, 11x17in, photograph (2013), $45 | BUY NOW — *"Cigar Roller" by Sid Webb, 11x17in, photograph (2013), $45 | BUY NOW*

The locations here cover a range of territory, from Germany to Portugal, and Webb’s camera finds the ordinary, universal truths of people instead of the divisive artificial barriers that arise from nations and politicians. Webb sees people experiencing the wonders of the world as a respite from their normal, daily existence.

“It is my feeling that about 80 percent of creating art is the process of making it,” says Webb. “By which I mean just being focused and absorbed in the process of creation. Another 15 percent or so has to do with skill and craft, and 5 percent is drawn from our sensitivity to the world around us and how finely tuned we are to form and balance and color. Somewhere in this mix is a bit of rational thinking and reasoning that lead us in deciding subject matter and content. Generally, artists are thought of as being creative and original. And artists think of themselves in those terms, too.”

Hometown: Lexington, KY
Education: Majored in journalism and political science, University of Kentucky; Atlanta School of Art (High Museum)
Website: http://www.sidwebb.com/

"Boys and Guns" by Sid Webb, 11x17in, photograph (2014), $45 | BUY NOW — *"Boys and Guns" by Sid Webb, 11x17in, photograph (2014), $45 | BUY NOW*

"Fairy Dust" by Sid Webb, 11x17in, photograph (2013), $45 | BUY NOW — *"Fairy Dust" by Sid Webb, 11x17in, photograph (2013), $45 | BUY NOW*

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: Jordan Lance Morgan

Josh Jenkins · May 11, 2017

*Artist, Jordan Lance Morgan in front of his painting "Rising and Setting"*

Jordan Lance Morgan describes himself as a figurative painter, and he seems concentrated on the head and face. Yet, his work doesn’t feel as if a limitation has been imposed on the artist and his themes, and Morgan imbues his work with a powerful sense of narrative. His subjects are captured indoors, but there is little evidence of a typical studio environment: the lighting is muted and the surroundings feel urban and dank, as if we have wandered into an abandoned basement.

“I am a figurative painter with an emphasis on portraiture, symbolism and storytelling,” explains Morgan. “While my work reflects a desire for realism, my main concern is to emphasize tension between the illusion of volume and flatness within the picture plane. Beyond this formal interest, I am heavily influenced by early American art, historical iconography, military and political history.”

*"Black Bile" by Jordan Lance Morgan, 6x8in, oil on linen on board (2015)*

The allusions to history were once overt in Morgan’s work – portraits of individuals in military uniform that were strictly formal in their composition, but in these recent paintings, the references are more elusive: a Phrygian cap, an early 20th century German army helmet, and…could that be Benjamin Franklin in the dour, oversize portrait, “Rising and Setting”, or are we just meant to ponder the identity? In any event, the image is startling in its immediacy, demanding attention from the viewer and displaying a sure psychological understanding.

“I paint and draw to understand people. Aesthetically I am constantly changing how to produce a portrait. My ambition is to connect myself and the viewer with history and the people who made it.”

Morgan certainly seems in control of his medium and the expression of his themes, yet we catch him here in a moment of crucial development, an emerging artists who is ready to launch.

Hometown: Goshen, Kentucky
Age: 28
Education: BFA, University of Louisville, 2012, Lou, KY; MFA, Pennsylvania Academy of Fine Arts, 2016, Philadelphia, PA
Website: http://www.jordanlancemorgan.com
Instagram: http://instagram.com/Jordanlancemorgan

*"Phrygian" by Jordan Lance Morgan, 24x24in, oil on linen on board (2015)*

*"Ray" by Jordan Lance Morgan, 12x9in, oil on linen on board (2015)*

*"Rising or Setting" by Jordan Lance Morgan, 64x64in, oil on canvas (2016)*

*"Appeal to Heaven" by Jordan Lance Morgan, 12x9in, oil on board (2016)*

Digital, Illustration

Vignette: Jessica Booker

Josh Jenkins · December 21, 2016

*"Braid Boy #3" by Jessica Booker, 1920x1080px, digital illustration (2016)*

One can see the influence of contemporary illustration and animation in the work of Jessica Booker; that there is a good measure of manga seems obvious, but is there not a also a bit of Margaret Keane, whose “Big Eye” paintings were the source of controversy and an important progenitor of the mass market merchandising of art almost a century ago?

*"Braid Boy #2" by Jessica Booker, 1920x1080px, digital illustration (2016)*

Such a thought is what makes the work of so young an artist interesting. Would Ms. Booker even know Keane, whose court case to claim authorship of her work is now seen as a feminist victory for a female artist so subservient to her husband’s will as to feel it appropriate to bury her creative identity? If time is a river, perhaps artists are unknowingly being caught up in themes and influences like eddies and currents along the way, forever being swept downstream.

*"Braid Boy 2.5" by Jessica Booker, 1080x1920px, digital illustration (2016)*

Booker works mostly from her imagination, but is inspired by people in her life, a blending of source and sensibility that asks questions about identity in an overly homogenized, culture saturated by digital media.

She finds the approach somewhat liberating, “…not worrying about getting an exact likeness to someone makes creating more open. They are like idealized caricatures of different persona and personalities I encounter every day. Each face is different in the moment, but similarities start to show and imaginary bonds between these total strangers start to emerge.

Playing with color, composition, shapes of features - even what they wear, tells what they might be like. Experimenting, for me, is important. Much like actual people, there are similarities and differences. I like to play with the details to make each person unique.”

In high school, Booker received a Scholastic Gold Key Award for Art and Writing. Last year she helped paint a mural on a Spalding University building for SoBro in Louisville.

Age: 21
Hometown: Louisville, Kentucky
Education: BFA candidate, Painting and Drawing, Kentucky College of Art + Design at Spalding University, Louisville, Kentucky

*"Braid Boy #1" by Jessica Booker, 1920x1080px, digital illustration (2016)*

*"Braid Boy..Wait!" by Jessica Booker, 1080x1920px, digital illustration (2016)*

Mixed Media

Curatorial Spotlight: Ann Stewart Anderson

Josh Jenkins · November 8, 2016

“I believe that I’m here to create in a world that’s falling apart.”

*A photograph of Ann Stewart Anderson. Photo by Sarah Katherine Davis Photography for LVA*

I’ve known Ann Stewart and her work much of my adult life. As I got to know her work, I admired it for its visual accessibility and its conceptual complexity. Her resume of accomplishments and milestones is pages long. Over the past several weeks, I’ve read what others have said about her work, what she’s said about it, and looked at images of pieces I remember, along with ones I’ve never seen. This process has only increased my admiration.

Recently, she and I had a conversation in her studio that ran the gamut from homemade paper dolls to theologian Paul Tillich’s assertion that myths express truth.

In our conversation, Ann Stewart talked about her father, a Presbyterian minister who studied architecture in college, built a playhouse for his three little girls, and had the courage to stand up publically for civil rights in a time when most other white ministers steadfastly kept their seats; and her mother, an artist who nurtured her daughters’ creativity with easels and paints in the sunroom, building supplies outside, and the steady encouragement to imagine.

Her parents were bedtime story readers, letting the girls take turns picking the book. When it was Ann Stewart’s turn, she always picked Greek mythology, tales of valorous men in war and the women whose lives intersected their personal and public battles.

Dolls hanging in Anderson's studio. Photo by Sarah Katherine Davis Photography for LVA. — *Dolls hanging in Anderson's studio. Photo by Sarah Katherine Davis Photography for LVA.*

After graduating with honors from Wellesley with a BA in art history, Ann Stewart got a job as a secretary to the Assistant Director of the Corcoran Gallery of Art in Washington, D.C. With additional odd jobs and what she saved (proudly recalled) from her $2,700 a year job, she paid her own way through graduate school, earning a degree in painting from The American University.

Although she began her career in art as a painter, early collaborations with friends like potter Sarah Frederick and fiber artist Lida Gordon offered opportunities to experiment with other media. Her first big collaboration came when the Louisville Visual Art Association chose Ann Stewart as one of five artists for its “Collaborative Effort” show. The only condition was they needed to pick an artist from outside the region to work with.

But whom would she ask? “Somebody suggested Judy Chicago,” Ann Stewart recalls. At that time, Chicago was gaining a national reputation as a feminist artist with The Dinner Party. So Ann Stewart wrote a letter and sent some of her work. Miraculously, Chicago called.

“What do you want to do?” Chicago asked.

A close look at Anderson's studio's desk. Photo by Sarah Katherine Davis Photography for LVA — *A close look at Anderson's studio's desk. Photo by Sarah Katherine Davis Photography for LVA*

Ann Stewart recalls feeling unprepared. “When she was on the phone, I had to say something, so I just said ‘menopause.’”

And that was the birth of the Hot Flash Fan project, a giant multi-media collaboration that eventually included work by over 50 artists and helped bring menopause out of the shadows and away from silly euphemisms like, “the change.”

Throughout her career, Ann Stewart’s subject has been women and the sustaining rhythm of their ordinary days. Her goal has always been to see women as subjects, not as objects. “That opens the possibility for other women to identify with the women in my work. I don’t paint portraits. I make up these women and somebody will say, ‘That reminds me of so-and-so,’ or the situations will remind them of themselves. Only women can do that. I admire male artists and have been influenced by the painting of Matisse, Bonnard and Max Beckmann, but I think there’s something significant about a woman artist being able to see something and identify with other women.”

But she’s also been a thoughtful artist, one who reads widely, assesses dispassionately and, for much of her life, kept an ongoing journal about her work: a conversation of ideas, technical struggles, connected and disconnected thoughts.

*"Esther" by Ann Stewart Anderson, 14x12in, paper mosaic (2016)*

It’s Ann Stewart’s point of view that makes her work so provocative. In one series, she creates women in conversations. “It’s the kind of thing women are criticized for,” she says, “nattering, gossiping, but it’s how people learn things. It’s how the important things of life are passed on.”

Her point of view sometimes reveals a wicked sense of humor, too, like the Ugly Bride series, and the Reject project that she put together at a time when she wasn’t being accepted in shows. “I got depressed,” she says. “Nobody wanted my work. It was going on too long and I decided I had to do something, so I created an art project.” By following the steps to enter a juried exhibit--excruciatingly well known by most artists—she made a point of attempting acceptance in twelve shows. The project culminated in a gala at Louisville Visual Art (LVA) when their home was the Louisville Water Tower, where all her rejection letters were displayed.

“The theme was ‘lemonade from lemons.’ Everything was yellow, and I put up all my rejections on a big wall and invited everybody else to stick theirs on, too, and then I gave ribbons for the best and worst rejections.” Although it was not part of the plan, the mojo worked. After that show—she started getting accepted again.

In her artist’s statement, Ann Stewart says her work is “characterized by dynamic ambiguity.” You can see that in the planes and angles of her “broken dish” women, or in those whose faces are partially hidden—under the brim of a hat, behind a veil or sunglasses, or the old women in extravagant dress and accessories. “You have to fill in the spaces yourself,” she says.

*Various works hanging in Anderson's studio. Photo by Sarah Katherine Davis Photography for LVA.*

One of the most satisfying experiences she’s had as an artist came with a series depicting the relationship between mother and daughter from the time the mother was pregnant until the day her daughter stood by her mother’s flower draped coffin. At the time, this work was displayed through LVA at Louisville International Airport. One day, Ann Stewart got a call from LVA telling her a woman had called, wanting to talk with her. She assumed the caller wanted to purchase her work, but as Ann Stewart recalls, “It was even better.”

“Are you the artist?” the woman asked.

When Ann Stewart said yes, the woman told her she’d never talked to an artist before but, ”’I was at the airport between planes when I saw your work. My daughter and I were having a big fight, but after I saw your work I was moved to reconcile with her.’ I tell that story to a lot of artists—it’s easy to feel guilty for ignoring social ills, but we don’t really know how our work affects people. “

*"Sun Stand" by Ann Stewart Anderson, broken dish mosaic (2008) NFS*

Throughout her life, she’s been blessed with having good jobs to “support my habit,” she laughs. For her, there’s never been a question of how to balance making a living with making art. “Art has always come first. I always had a studio because making art is what I do.” Even marriage to Ron Mikulak, food writer and retired Food Editor for the Courier-Journal, has not created the tension some artists experience trying to balance home with making art. “I’ve been lucky. Ron cooks and I make art. When I’m working in the studio, he’s creating in the kitchen, where he loves to be. And when I come out of the studio, there’s a beautiful meal on the table.”

Her work has tended to follow the chronology of her life. Today, she’s working on “old women” and, most lately, a series she calls the Teffubud Sisters.

“I was working on the broken dish women, and I was getting really tired having to be in a mask breaking dishes. It was a big mess.” A friend gave Ann Stewart a book about paper mosaics. “I thought, ‘I’d like to try that,’” so she began hunting through some old art magazines she’d tried unsuccessfully to sell at a yard sale for material to use in mosaics. “I discovered I loved working with paper and scissors.”

*"Discord (Women and War)" by Ann Stewart Anderson, 46x40in, oil on canvas (2010)*

That change of medium was fortuitous when she and her husband moved into a condominium where she couldn’t work with oil paints any more because of the fumes, and still more so later when she was diagnosed with Parkinson’s disease. “There are some things I can’t do, but fortunately, I can still cut.”

The Teffubud Sisters were born from a picture of a grotesque man by artist Jean Dubuffet that Ann Stewart discovered in one of the art magazines. Each sister’s face takes its basic shape from the Dubuffet “parent,” but after that the ridges, lines and contours of each woman—and her adornments—belong to her alone.

Parkinson’s has forced other accommodations. The most painful? - The fact that she can’t write any more. As she tells me this, Ann Stewart points to a long row of books and notebooks on the top shelf in her studio. “I’ve always journaled about what I’m doing—and I can’t any more. That’s really hard.”

So how does she look at her art now? “I don’t think being recognized is the most important thing anymore. I want to be like Renoir—and this story might be apocryphal—but he’s supposed to have painted on the day he died. That’s what I want to be. I want to keep creating.”

Today, she says, that’s more important than ever. “I believe that I’m here to create in a world that’s falling apart. Creative energy is the only counter to all the destructive energy out there. That’s why it’s so important for all of us.”

*"Phoebe" by Ann Stewart Anderson, 14x12in, paper mosaic (2015)*

*"Millie" by Ann Stewart Anderson, 14x12in, paper mosaic (2016)*

This Feature article was written by Sarah Yates.
Sarah Yates is a writer who lives and works in Louisville, KY.

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face

Vignette: Sid Webb

“I think of art as making a statement about the artist’s time and place and/or turning points in techniques and tools that give the next generation of artists a new outlook.” — Sid Webb

Vignette: Jordan Lance Morgan

Vignette: Jessica Booker

Curatorial Spotlight: Ann Stewart Anderson

“I believe that I’m here to create in a world that’s falling apart.”