River Skipworth has been taking Louisville Visual Art (LVA) classes for nine years, starting in fourth grade and continuing up through his senior year. His teachers have included Annette Cable, William Duffy, Dennis Whitehouse, Claudia Hammer, Colin Lloyd, and Sunny Ra, and ranged in location from Douglass Community Center to DuPont Manuel High School, Spalding University, and the Holy Trinity/Clifton Community Center.

He has received nine Gold Keys, a Gold Key Portfolio, two Silver Keys, and Eight Honorable Mentions in the Scholastic art Awards. River also won a first, two seconds, and a third place in the KY Art Education Association All State Art Awards in the region, and a second place in the state. He was a member of Art Club at school, and participated in Studio 2000 (through Metro Parks & LVA), The Future is Now (a mentorship program through LVA), and the Governor’s School for the Arts (GSA).

River will be attending Murray State University in fall 2018. “So far I have received around $4,000 in financial aid, KEES money and academic scholarships. I plan on majoring in some art form, but I haven’t decided yet exactly which one. I have also won the John Botto Award for overall body of work in the 2018 Scholastic Art Awards that included a scholarship of $250.”

“I give Louisville Visual Art (LVA) a lot of credit over the years for helping me succeed in not only the many classes but also helping me to participate in multiple programs including: Studio 2000, The Future is Now, and GSA. I have also volunteered for a United Way daycare teaching art to kids for a week during Christmas break, and for Squallis Puppeteers on multiple occasions. The class I have enjoyed and learned from the most is Painting with Dennis Whitehouse and Sunny Ra.”

“Children’s Fine Art Classes (CFAC) and The Academy at LVA have made a huge impact on my life, I would not be the artist I am today with out the many years and mentors I have learned from. I have enjoyed learning from each and every one of these teachers and have tried to absorb as much of their knowledge and skill as possible. It saddens me to know that this constant source of help and guidance for me will soon be gone, but I hope it will continue to help and inspire young artists in Louisville like my little sister. I have recommended CFAC to many people and feel that this program is more important to our community than it has been credited. All of my teachers have been great but I feel that Mr. William Duffy has gone above and beyond for me, not only because I was with him the longest but also because I could always tell he genuinely cared for me and the other students. He is very knowledgeable in multiple techniques and is an overall kind human. Thank you.”

River's work will be included in The Academy at LVA Exhibition, which will be on display May 9 - 16 at Louisville Visual Art, 1538 Lytle Street in the Portland neighborhood. Gallery Hours are Monday through Thursday, 12-4pm, or by appointment. There will be a reception Friday, May 11, 6-8pm.

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Ceramics

Vignette: Jim Gottuso

Guest User · January 25, 2018

“Making things (and living life) is essentially a series of decisions, each one contingent on the previous.” - Jim Gottuso

"Etched Porcelain Beer Glass" by Jim Gottuso, grolleg porcelain, 3.75in diameter X 6.75in tall, 2017, $70 — "Etched Porcelain Beer Glass" by Jim Gottuso, grolleg porcelain, 3.75in diameter X 6.75in tall, 2017, $70

After several years of running his own businesses, including computer graphics and animation, fatherhood prompted Jim Gottuso to commit to the studio practice of a functional potter. Practicality and intellectualism are wedded in how he speaks about his work.

“I am very interested in the complete cycle of creating clay objects,” explains Gottuso. “Working on the wheel has provided a framework, grounded in functionality, which allows creativity to flourish. Functional demands inform aesthetics and vice versa, creating an evolution that hopefully moves forward to better work. Imperfections that occur while aspiring to perfection are exciting and learning to let them be has been a challenge. Not setting out with strict limitations always allows some wiggle room to let something become something else. This makes each object’s creation different and the immense frontier of possibilities provides exhilaration. Wondering about the unknown results in the coming years of trial and error, a period that all potters eventually get under their belts, appeals to a sense of anticipation about the promise of the future.”

“I’ve written statements about my work over the years and as I’ve matured I’ve come to look at what I do in the broader context of what all artists, craftspeople, writers, musicians, etc. do. After attempting to distill this all down to a somewhat simple explanation and thereby jettison the inevitable “artspeak jibberish”, what I’m left with is this: Making things (and living life) is essentially a series of decisions, each one contingent on the previous. Evidence of those moments of decision (or the concealment of said moments) represents the object’s evolution from idea to its final state. Consequently, the work done on the objects themselves can be viewed as a metaphor for existence. In the microcosm (my work), the calligraphic brushwork includes obvious examples of my decisions represented by the change of direction of each brushstroke. I try to make these quickly so that the results are almost a presentation of many decisions skirting the boundaries of my subconscious.”

"Etched Porcelain Bowl" by Jim Gottuso, grolleg porcelain, 7.25in diameter X 4.5in tall, 2017 — "Etched Porcelain Bowl" by Jim Gottuso, grolleg porcelain, 7.25in diameter X 4.5in tall, 2017

"I've come to believe that I've always just been in love with what happens when a brush, pen or pencil makes contact with another surface and using shellac as a resist on dried, unfired clay allows the surface to be etched without losing the immediacy and spontaneity of such brushwork."

Gottuso will be participating in the first Southern Crossings Pottery Festival (SXPF), which will take place March 2 & 3, 2018 at Copper & Kings in the Butchertown neighborhood of Louisville. The event will showcase potters in the Ohio River Region, including Lexington, Cincinnati, and more. The festival will also include the Empty Bowls Benefit Dinner @PLAY Louisville on March 3, 2018.

Hometown: Chadwicks, New York
Education: BFA in Drawing and Ceramics / Murray State University 1982; MFA in Sculpture / Southern Illinois University, Carbondale 1986
Website: gottuso.etsy.com
Instagram: /jimgottuso
Gallery Representation: In Tandem Gallery / Plough Gallery / Kentucky Artisan Center / Terra Incognito / Warm Springs Gallery.

Etched Porcelain Bowl" by Jim Gottuso, grolleg porcelain, 6.25in diameter X 4.75in tall, 2017 — Etched Porcelain Bowl" by Jim Gottuso, grolleg porcelain, 6.25in diameter X 4.75in tall, 2017

"Etched Porcelain Bowl" by Jim Gottuso, grolleg porcelain, 6.5in diameter X 4.5in tall, 2017 — "Etched Porcelain Bowl" by Jim Gottuso, grolleg porcelain, 6.5in diameter X 4.5in tall, 2017

"Etched Porcelain Bowl" by Jim Gottuso, grolleg porcelain, 5in diameter X 4.5in tall, 2017 — "Etched Porcelain Bowl" by Jim Gottuso, grolleg porcelain, 5in diameter X 4.5in tall, 2017

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Ceramics

Vignette: Amy Chase

Josh Jenkins · September 1, 2017

*"Complacency" by Amy Chase, 9x5.5x5in, Porcelain Cone*

It was recently announced that Amy Chase is one of the recipients of the 2017 Al Smith Fellowship. The prestigious award, named in honor of former arts council chair and Kentucky journalist Al Smith, recognizes professional artists who have reached a high level of achievement in their careers. Since its beginning in 1983, the program has provided more than $2.5 million in funding to artists in the visual arts, literary arts, media arts, composing and choreography. In this round of funding, the fellowships were awarded to artists in the choreography and literary arts disciplines.

Examining a selection of Amy Chase’s work, one gets the sense that a community has been built. The forms are often abstract, but the relationships are clearly drawn, and some of the figures capture very human postures and attitudes. Those figures live on various platforms, so there is always a context of isolation or separation. Sometimes characters are drawn closer, and other times they are widening the distance between them. Often, and most irresistibly, two of them (for they almost always seem to come in pairs) are connected by a slender thread, pulling on their tether in a precarious fashion that creates a delicate tension.

*"Compliance" by Amy Chase, 10x8x10in, Porcelain*

“The surface consists of intricate patterns that are applied using precise silkscreened slip and glazing techniques. These choices in pattern address personal experiences, while at the same time evoking the viewer’s own memories.”

Chase’s artist’s statement makes it explicit that these patterns and textures are drawn from childhood memory, so there is an undeniable element of autobiography in this work. Yet the abstraction puts us at a distance; we are empathetic because the fundamental dynamic at play resonates within our own memory. The anonymity allows us to see ourselves in this nebulous but welcoming community.

*"Enticement" by Amy Chase, 3x4x3in, Porcelain, Underglaze, Luster*

Chase is currently the Design Coordinator for Louisville Visual Art in Louisville, Kentucky. Since residing in Louisville she has also been the Ceramics Instructor and Gallery Director at Spot 5 Art Studio and taught Ceramics at Jefferson Community and Technical College. From 2010–2012 she was the Adjunct Professor of Ceramics at Southeast Missouri State University located in Cape Girardeau, Missouri.

Amy Chase has been awarded the title of ‘Emerging Artist’ by American Style magazine, has been featured in Ceramics Monthly, Clay Times, 500 Ceramic Sculptures and 500 Ceramic Vases. Chase has also has an extensive exhibition record including venues such as: The Clay Studio in Philadelphia, Pennsylvania; The Clay Studio of Missoula in Missoula, Montana; The Washington Project for the Arts in Washington D.C.; Carbondale Clay Center in Carbondale, Colorado and Lincoln Arts in Lincoln, California.

Hometown: Murray, Kentucky
Education: BFA, Murray State University; MFA, Southern Illinois University
Website: http://amychaseceramics.com

*"Inclination" by Amy Chase, 8x4x3in, Earthenware, Fibers*

*"Solidarity" by Amy Chase, 9x7x4in, Porcelain, Stoneware, Flocking, String, Luster*

"Deciphering Fiction" by Amy Chase,  6x6x6in, Terracotta, Wood, String, Underglaze — *"Deciphering Fiction" by Amy Chase, 6x6x6in, Terracotta, Wood, String, Underglaze*

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Painting

Vignette: Tom Cannady

Josh Jenkins · April 14, 2017

"Scooch Over, Hon" by Tom Cannady, 48x60in, acrylic on canvas (2016), $3600  | BUY NOW — *"Scooch Over, Hon" by Tom Cannady, 48x60in, acrylic on canvas (2016), $3600 | BUY NOW*

Tom Cannady describes his paintings as, “nostalgic representations of Americana,” and he has expressed that notion primarily through the use of mid-20th century automobiles, vacation images, and signs. Iconic images filled with the sunlight and faux innocence of Frankie Avalon and Annette Funicello.

There were often people before, but they were typical – middle class Americans living the dream on a hard-earned vacation, but in newer work, Cannady introduces some of the same over-exaggerated quality that we find in the 1950’s cars: sleek, fins and detailing that call attention to themselves and remind us of a time when how a car looked mattered more than fuel efficiency, into human female figures. “They Went That Away” highlights the kind of emphatic sex symbol of the period, while “Scooch Over” completes the relationship between objectification of women and automobiles that has never left us, but which was in much greater bloom at this seminal moment.

"OneTwoThree" by Tom Cannady, 24x36in, acrylic on canvas (2016), $1800  | BUY NOW — *"OneTwoThree" by Tom Cannady, 24x36in, acrylic on canvas (2016), $1800 | BUY NOW*

Cannady creates paintings in what he describes as, “a pop impressionist style creating new perspectives or recreating unique moods from another time. I use vintage photographs acquired from multiple sources as reference points and inspiration. Many were originally printed in black & white, which gives me complete freedom to choose the pallet best suited to the composition. I lean to warm, bright hues with strong contrast.”

Cannady is currently showing works at Makers Crucible Showroom and Craft(s) Gallery & Mercantile in Louisville, Kentucky. In November 2016 he was selected as one of twenty artists representing the sixty participants in the LVA Open Studio Weekend in a group show of work at the University of Louisville, Hite Gallery.

Hometown: Louisville, Kentucky
Age: 59
Education: BS in Marketing and a minor in Art, Murray State University
Website: http://www.tjcannady.com

"They Went That Away" by Tom Cannady, 36x48in, acrylic on canvas (2016), $2400 | BUY NOW — *"They Went That Away" by Tom Cannady, 36x48in, acrylic on canvas (2016), $2400 | BUY NOW*

"Launch Party" by Tom Cannady, 48x24in, acrylic on canvas (2016), $2400 | BUY NOW — *"Launch Party" by Tom Cannady, 48x24in, acrylic on canvas (2016), $2400 | BUY NOW*

"Hurry Up, Fred!" by Tom Cannady, 48x36in, acrylic on canvas (2015) $2800 | BUY NOW — *"Hurry Up, Fred!" by Tom Cannady, 48x36in, acrylic on canvas (2015) $2800 | BUY NOW*

murray state university

The Academy at LVA 2018 Senior Spotlight: River Skipworth

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Vignette: Jim Gottuso

“Making things (and living life) is essentially a series of decisions, each one contingent on the previous.” - Jim Gottuso

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

Vignette: Amy Chase

Vignette: Tom Cannady