“I hope to provoke the viewer to consider the contradictions arising from our contemporary fixation with notions of health.“ – Lori Larusso

*"Eating Animals (Broccoli Poodle)" by Lori Larusso, 19x10in, acrylic on shaped panel (2016), price available on request*

When you hear the term “political art”, what comes to mind? Campaign and propaganda posters from contentious times; “Buy Bonds” during World War II, “Join The Party” from Europe in the 1930’s - Iconic mileposts of social change. Yet, in the work of Lori Larusso we find social and political statements about food production and distribution in the U.S. that are as slick, clean and polished as the height of the form, but placed in a whimsical context that makes the message more approachable; couching the provocative in a comfortable mid-Twentieth Century aesthetic.

“Our unhealthy obsession with healthy food often masks the origins of its production,” explains Larusso. “It also fails to consider who has the financial means and access to consume foods defined as healthy. For those in need of assistance, state bureaucracy determines the affordability and accessibility of staple foods. WIC programs, for example, allow for the purchase of sugary breakfast cereals, while at the same time, refuse to allow for the purchase of organic dairy products and high quality all natural foods. These newest paintings are reflections on the disconnect between the disturbing realities of commercial food production and our often naive assumptions about the pastoral lifestyle of animals raised for consumption. Here, the presentation of the food images, (cagey, but carefully prepared and staged) calls to mind the desire to provide healthful foods for ourselves and families while evoking the contrasting reality, both the abusive treatment of animals in CAFOs and those unable to participate in the health market.”

The pieces are illustrative and narrative, but Larusso states that, “the tangible quality of finished pieces is tied more directly to a contemporary painting practice.” Digital images of the work don’t clarify that these pieces are acrylic painted on shaped panels, so, as is always the case, a proper reading of the work requires viewing it in person. Larusso’s work can be seen at this moment in three exhibits:

March 3 - April 29 -The Chamber of Golden Light & Eating Animals at James May Gallery: Algoma, WI

February 12 - March 18 - Art and Tart at KMAC Shop; Louisville, KY

January 19 - April 30 - Contemplation Consumed: Artworks by Johanna Goodman, Natsuko Hattori and Lori Larusso, Porter Contemporary; New York, NY

Hometown: Massillon, Ohio
Age: 36
Education: MFA, Interdisciplinary Studies- Maryland Institute College of Art (MICA) BFA, Studio Art- University of Cincinnati, College of Design, Architecture, Art & Planning
Galley Representation: Skidmore Contemporary (Santa Monica, CA), Jordan Faye Contemporary (Baltimore, MD), Porter Contemporary (New York, NY)
Website: www.lorilarusso.com

*"Eating Animals (Green Grapes Porcupine)" by Lori Larusso, 18.5x10.5in, acrylic on shaped panel (2017), price available on request*

*"Eating Animals (Banana Dolphins)" by Lori Larusso, 24.5x12in, acrylic on shaped panel (2017), price available on request*

*"Eating Animals (Cucumber Shamu)" by Lori Larusso, 15x6in, acrylic on shaped panel (2017), price available on request*

*"Eating Animals (Strawberry Mice)" by Lori Larusso, 16x7in, acrylic on shaped panel (2017), price available on request*

*"Eating Animals (Waffle Sea Turtle)" by Lori Larusso, 24.5x12in, acrylic on shaped panel (2017), price available on request*

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Painting

Vignette: Michael Victor Troutman

Josh Jenkins · March 8, 2017

"I didn't choose art. I was born into it." – Michael Victor Troutman

"Amber" by Michael Victor Troutman, 6x6in, acrylic on canvas (2017), $25 | BUY NOW — *"Amber" by Michael Victor Troutman, 6x6in, acrylic on canvas (2017), $25 | BUY NOW*

Michael Victor Troutman claims that his work contains no “pretentious message,” and that he just hopes to provoke an individual emotional response in each individual viewer. His unorthodox use of color and a deliberately unsophisticated approach to mark making give us paintings that might be more accessible to a broader audience for exactly their lack of “airs.” There is skill in the line work but a liberating lack of concern for what is academically appropriate in compositional choices.

Troutman’s work is reminiscent of mid-20th century art that included connotations from the past. “Amber” is quick and spontaneous, but cannot help but recall Andy Warhol’s portrait of Marilyn Monroe, while the sense of decadence with a hint of depravity found in “Cessation” seems to cite Toulouse-Lautrec as a part of its ancestry.

"Cessation" by Michael Victor Troutman, 24x30in, acrylic gesso varnish on canvas (2016), $123 | BUY NOW — *"Cessation" by Michael Victor Troutman, 24x30in, acrylic gesso varnish on canvas (2016), $123 | BUY NOW*

The artist is self-taught and has been exhibiting since the late 1990s. He primarily paints portraits but has experience with other mediums such as sculpture, found art, collages, drawings and the written word. He credits much of his artistic talent to his family, “especially, my father, Victor, & my brother, Aaron. Many other relatives—including my mother, who worked in the Culinary Arts & created edible sculptures, etc., and my sister, who worked in crafts & home décor, fabric/fashion, etc., & and uncles, grandparents, etc. who made swank furniture and kinetic art—are also influences/inspirations to my creativity.”

*"A Self Portrait" by Michael Victor Troutman, 24.5 x 18.5 in, acrylic on canvas (2012)*

“I took advantage of the situation and used the tools, instruments & materials I found in my vicinity. Art is not a science, thus I did not continue formal training. Everyone is born an artist, but somewhere along the line most children morph into adults—they're too self-critical and judgmental.”

When Troutman expresses his aesthetic he tends to the poetical:

Some cold souls see art as an excessive luxury; one of them even said to me that “art is one thing that the world could do without.”
But to that bastard, I reply, I retort that never has the world done without art.
Art is ancient and as continuous as circles.
I find that when something “does not matter” is when it/something matters the most
because it's done as a thing/act in itself,
alone, clean & pure
& done because it needed or wanted to be done
& it was not done to seek rewards in heaven
& it was not done to evade punishment in hell;
it was done because it was the R—> thing to do regardless of the consequences/effects.

"TRS 3.0" by Michael victor Troutman, 20x24in, acrylic gesso varnish on canvas (2015), $138 | BUY NOW — *"TRS 3.0" by Michael victor Troutman, 20x24in, acrylic gesso varnish on canvas (2015), $138* *| BUY NOW*

ART is about AIM:

Attention

Influence

Manipulation

- so please let me con you. Feel! ENJOY!

Troutman’s latest exhibition started March 3 at Open Community Arts Center in Louisville.

Hometown: DePauw, Indiana
Age: 28
Education: BA, Spanish; BA, Political Science & Minor in International Studies w/ concentration in Latin America (& a brief period of graduate school MAT Spanish program)
Facebook: http://www.facebook.com/TroutmanArt

"Girl Stepping Out of Shadow" by Michael Victor Troutman, 16x20in, acrylic on canvas (2012), $169 | BUY NOW — *"Girl Stepping Out of Shadow" by Michael Victor Troutman, 16x20in, acrylic on canvas (2012), $169 | BUY NOW*

"Private Eye" by Michael victor Troutman, 24x30in, acrylic varnish on canvas (2015), $222 | BUY NOW — *"Private Eye" by Michael victor Troutman, 24x30in, acrylic varnish on canvas (2015), $222 | BUY NOW*

message

Vignette: Lori Larusso

“I hope to provoke the viewer to consider the contradictions arising from our contemporary fixation with notions of health.“ – Lori Larusso

Vignette: Michael Victor Troutman

"I didn't choose art. I was born into it." – Michael Victor Troutman