Vignette: C.J. Pressma

"Dangerous Passage" by CJ Pressma, quilt - photographic collage printed on cotton and quilted on a long arm machine $1800 | BUY NOW

It is the hope of the individual artist to make work that speaks to their time, to influence the world around them. C.J. Pressma has done that – maybe enough for several artists, through his personal work, certainly, but also by operating the Center for Photographic Studies - an alternative school of creative photography, in Louisville in the early 1970’s.

When he founded the Center for Photographic Studies in 1970, Pressma’s initiative was part of what can now be seen halcyon period in Louisville’s creative life. Although open only eight years, the Center’s influence is still felt nearly forty years later. Nearly every photographer above a certain age working in this town seems to have spent time studying there, connecting local commercial and artist photographers with national names in the field such as Henry Horenstein, currently a professor at the Rhode Island School of Design.

"Nightmare in the City" by CJ Pressma, quilt - photographic collage printed on cotton and quilted on a long arm machine, $1800 | BUY NOW

On his website, Pressma explains: “The Center provided a learning experience for those seeking to explore photography as creative expression. During its existence the center attracted students from over 35 states and foreign countries to its full-time resident program and provided part-time instruction and darkroom access for hundreds of students in the Louisville metropolitan area. Its two galleries provided monthly photographic exhibits featuring the works of local, regional, and internationally acclaimed photographic artists including Ansel Adams and Minor White.”

Pressma’s work can be currently be seen in Altered Perceptions, an LVA Photo-Biennial Exhibit at Metro Hall, which runs July 17 through January 12, 2018. Some of the images we see here are featured in that show, which also includes work from Mitch Eckert and Jenny Zeller. There are certainly many facets to this artist’s work, but here we view pieces from a period when he printed photographic images and digital graphics onto fabric, allowing him to incorporate them into quilts; a non-traditional photographic presentation tied to a form steeped in tradition.  

Pressma enjoyed a highly successful career as a multimedia producer and marketing communications specialist. In 1984, his seven part series Witness to the Holocaust, was released in the U.S. and Canada where it remains in distribution today. Witness to the Holocaust is one of the first productions to use survivor interviews as the exclusive content to tell the story of the Holocaust, and has received numerous national awards.

"Beware" by CJ Pressma, $1800 | BUY NOW

Pressma has been recognized nationally:

1978 - National Endowment Fellowship in Photography.

1997  - American Advertising Federation’s prestigious Silver Medal Award for “outstanding contributions to advertising and furthering the industry’s standards, creative excellence, and responsibility in areas of social concern.”

2001 - Fellowship by the Kentucky Arts Council.

C.J. Pressma is a graduate of Antioch College and holds an MFA. in Photography from Indiana University. He studied as a special graduate student with Minor White at the Massachusetts Institute of Technology and with Henry Holmes Smith at Indiana University.

Hometown: Louisville, Kentucky
Age: 72
Education: BA, Antioch College; MFA, Indiana University
Gallery Representative:  Pyro Gallery (Louisville)
Website: http://cjpressma.com

"Cartoon Weave" by CJ Pressma, 74x76.5in, quilt - photographic collage printed on cotton and quilted on a long arm machine (2008), $1800 | BUY NOW

"Cumberland Burial Site" by CJ Pressma, 79x81in, quilt - photographic collage printed on cotton and quilted on a long arm machine (2006), $1800 | BUY NOW

"Bull & Friends" by CJ Pressma, 72x78in (2008), $1800 | BUY NOW

"Secrets" by CJ Pressma, 94x68in, quilt - photographic collage printed on cotton and quilted on a long arm machine (2011), $1800 | BUY NOW

"Great Snakes Alive" by CJ Pressma, 88x77.5in, quilt - photographic collage printed on cotton and quilted on a long arm machine (2008), $1800 | BUY NOW

Written by Keith Waits. Entire contents copyright © 2017 Louisville Visual Art. All rights reserved.

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Vignette: Sunny Ra

"Radiate" by Sunny Ra, 32x48in, oil on canvas (2016), $1300 | BUY NOW

Artist, Sunny Ra. Photo by Dan Lubbers.

In striking abstract compositions, painter Sunny Ra uses the landscape form to investigate questions of identity in both a social and highly personal context.

“The foundation of my work originates from my experience of growing up Korean in Louisville, Kentucky. I did not have any Korean friends and since I spoke little Korean and could not read or write Hangul, I was an outsider in the Korean community. Similarly, I never quite identified myself as American since I was not white, and was living among majority white Americans.  I remember people would ask me where I was from or comment on how well I spoke English. I grew up feeling and eventually believing that I did not belong anywhere - perhaps nowhere. It is from this limbo that my night landscapes emerge and my journey into the obscure and the unknown began.”

"Untitled #3" by Sunny Ra, 9x12in, pastel on paper (2016)

It is a common, and let’s be honest, lazy assumption to confuse an individual artist’s racial and cultural identity. Ra makes paintings with no overt ties to traditional Korean pictorial forms, and her formative culture was Middle American, so it is fascinating to hear how she connects the luxurious darkness of her imagery with an evolving personal journey. 

“In these night landscapes, I revisit my childhood memories - what has been lost and what remains. Through the application of layers of paint, the images at first recognizable, slowly evolve and merge into the abyss of the dark palette. But through the darkness emerges light and color, a new image surfaces, perhaps this is where I belong.”

Hometown: Louisville, Kentucky
Age: 35
Education: MFA, Hunter College, CUNY, 2011; BFA, University of Pennsylvania, 2005; Painting Certificate, Pennsylvania Academy of the Fine Arts, 2005
Website: http://www.sunny-ra.com

"Harvest" by Sunny Ra, 11x14in, oil on paper (2016), $450 | BUY NOW

"Untitled #2" by Sunny Ra, 9x12in, pastel on paper (2016)

"Kinetic" by Sunny Ra, 14x11in, oil on paper (2016), $450 | BUY NOW

"Untitled #1" by Sunny Ra, 9x12in, pastel on paper (2016)

"Might" by Sunny Ra, 11x14in, oil on paper (2016), $450 | BUY NOW

Written by Keith Waits. Entire contents copyright © 2017 Louisville Visual Art. All rights reserved.

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Vignette: Debra Lott

"Virtual Reflection" by Debra Lott, 36x72in (diptych), oil on canvas (2017), $2400 | BUY NOW

Lott in her studio.

When painter Debra Lott observes that we live in a, “…world where the virtual and authentic collide and confuse,” the degree of understatement is not meant to be sarcastic, but simply a way to explain the foundation on which she has built her newest work. Self-portrait has not been such an overt theme in her previous work, although she has been focused on a woman’s existence in the contemporary society in a fashion so personal that it nearly passes as the same thing. Such is the nature of art that it always reveals something important about the artist.

Now Lott places herself unmistakably front and center to speak to the narcissistic tendencies of modern communication:

“My inspiration and influences are the popular mass media. This source became the tipping point for my experimentation into painting this series. The absurdity of the media images prompted me to take my work in a new direction. The paintings form satirical statements that incorporate figurative distortion and exaggeration while mocking the media’s use of photo- shopped, erotic, and often implausible poses.”  

"Going to Great Lengths" by Debra Lott, 30x20in, oil on canvas (2016), $950  | BUY NOW

“My techniques include distortion, elongation, detachment and segmentation. The expressive brushstrokes and fantasy color schemes are symbolic of the theatrical and sensational drama of cultural media. My expressive and quasi abstract style combine color, form and texture to convey the illusion of beauty that is often construed as reality.

“My goal is to move in a direction toward further experimentation and abstraction. I began experimenting with the concept of ‘authentic’ versus ‘virtual’ especially as it applies to cultural media. To communicate this idea of counterfeit, I chose a complementary color scheme and ‘like values’ that allow the subject and background to overlap and create some uncertainty as to what is positive and negative space. My goal was to increase the abstraction of the content and cause the body to become part of the surrounding space.”  

"Yes I Can" by Debra Lott, 30x48in, oil on canvas (2017), $1400 | BUY NOW

Lott presently has 2 pieces in the Owensboro Art Guild 55th Juried Exhibition, up through April 14th, 2017, and a solo show titled, Collections, runs through April 16, 2017 at the Pigment Gallery at Mellwood Arts Center in Louisville. There will be an Artist’s Reception, March 31st 6-9pm

"Self Love" by Debra Lott, 30x20in, oil on canvas (2017), $775 | BUY NOW

Selected Adjudicated Exhibitions:
2018 - Owensboro Museum of Fine Art, OAG 55th Juried Exhibition, Owensboro, KY, February 25-April 14, 2017
2017 - Lexington Art League, Demographically Speaking, A Figurative Exhibition, Lexington, KY, January13-February 12, 2017
2016 - Art Comes Alive 2016, ART Design Consultants Inc. Cincinnati, OH, July 23-August 29, 2016 Figurative Artist of the Year Award
2015 - The Chautauqua National Exhibition, Eastern Kentucky University, Richmond, KY 1/26/2015-2/20/2015
2013 - The Art at the X National Juried Exhibition, Xavier University, Cincinnati, 'Multicultural Expressions of Faith', Award of Excellence, August 23-October 11, 2013
2010-2013 - National Art Education Women Caucus Juried Art Exhibition, 2010, 2011, 2012, 2013
2011 - 55th Mid-states Juried Art Exhibition, Evansville Museum of Arts, History and Science, Indiana, December- March 2011
2010 -  Manifest Gallery International Drawing Annual- Exhibition in Print, Cincinnati Ohio, art work selected - Seasons of Grace, Charcoal on Paper
2010   Water Tower Regional, Louisville Visual Art Association, KY, January 24-March 7, 2010
2009   54th Mid-States Juried Art Exhibition, Evansville Museum of Arts, History and Science, Indiana, Dec 7-January 18, 2009.
2007   Mad Art Gallery, St Louis, Missouri, Contemporary Women Artists XIV, International Juried Exhibition, Sept 7-29, 2007, St Louis Chapter of the National Women’s Caucus for the Arts
2006   Kniznick Gallery of the Women’s Studies Research Center, Brandeis University, Boston, Vital Voices: Women’s Visions, 2006, (National Juried Exhibition in conjunction with National Women’s Caucus for the Arts)

Hometown: Lake Worth, Florida
Age: 65
Education: MAT with a concentration in painting, Florida Atlantic University, a BA in Art Education, Palm Beach Atlantic University
Gallery Representation: PYRO Gallery
Website: http://www.debralott.com/

"Original Selfie" by Debra Lott, 24x24in, oil on canvas (2017), $675 | BUY NOW

Written by Keith Waits. Entire contents copyright © 2017 Louisville Visual Art. All rights reserved.

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Curatorial Spotlight: Ann Stewart Anderson

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

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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.

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

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)

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

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Q&A: Jennifer Laura Palmer

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“Sometimes it is a little better to travel than to arrive.” — Robert Pirsig

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Location and maps are a crucial part of painter Jennifer Palmer’s work. “The first maps I collected were from my childhood and they were used on family trips. I loved that they were used on our trips and I could see my Dad’s handwritten notes and the highlighted route for each adventure. These memories have become even more precious since my Mother’s passing from cancer this past year.” Palmer is currently working on a new series involving plein air artworks created during road trips throughout Kentucky in a 1951 Chevy Pickup: http://palmertravelingartist.tumblr.com/

"Paintings of Maine (In Progress)" by Jennifer Palmer, mixed media on poplar (2016)

1951 Chevy - Barbara Jane (Name after my Mother)

Are you still touring Kentucky in your 1951 Chevy pick-up?

I currently am and the project is still in the beginning stages. I have spent the summer working on organizing my trip and scouting out locations to complete my artwork.  This has allowed me the necessary time to come up with a more cohesive plan that has clear objectives and goals to make this a successful project. After my trip to Maine this summer I realized I wanted to challenge myself to something much larger than I had originally intended and to push myself creatively to use materials and process that I haven’t used before. This has slowed down the project, however, it has increased the drive to have a series that goes beyond what I had originally envisioned. 

How many different places have you been?

Only a handful of places at this point and mostly I have been cruising routes and making notes on good places to stop and make some art. I feel I haven’t even scratched the surface of all the places to explore in this beautiful state. I have toured a lot of backroads in Kentucky cruising and I started to realize that I need to also include more urban areas on my travels. 

"On site Traveling Drawing (Phippsburg, Maine)" by Jennifer Palmer, 9x12in, ink on paper (2016)

What music do you listen to on the road?

I tend to just keep the windows down and listen to my surroundings and mostly the sound of the truck’s engine. 

Do you listen to music while you paint?

I do and tend to listen to the same music over and over until I finish a series.  You would most likely find Shovels and Rope and Roy Orbison in rotation in the studio.

What expectations did you have for the journey?

To stumble upon beauty in every place I visit. 

Tell us something about the people you have met?

I have found that everyone enjoys sharing a story if you are willing to slow down and ask some questions and be sincere in wanting to hear what they have to say. The people I have encountered are the greatest resources on learning more about the areas I am visiting. They know the area and give out the best suggestions for places to see and also to eat. I have experienced that people always love sharing stories about their animals and that is a great way to start a conversation. 

Also, I would like to add since I am still in the planning stages I would love to hear from people in Kentucky on places to go and more importantly why do they think I should visit there and document the space.

"Olsen House (Cushing Maine)" by Jennifer Palmer, photograph (2016)

What's your favorite place to visit?

I will have to say Maine. I spent two weeks there this summer on an art road trip and I fell hard for the state. The landscape, the history, the people and the air were so inspiring.  What made the trip memorable was visiting the Farnsworth Museum and seeing Andrew Wyeth’s work in person. It literally brought tears to my eyes.  I was then able to make the journey to the Olsen House and spend time photographing the house and grounds.  I have never felt such a connection with a place.  

Honestly, this trip to Maine got me a little side tracked on the Traveling Artist Project here in Kentucky with the Chevy, however, it stirred a passion and desire to make it a more impactful series by slowing down and really taking time to plan out the project so I can create a wide range of pieces in various mediums. Kentucky holds the same charm and beauty and I want to explore the forgotten spaces to see the hidden gems myself and then be able to share these finds with an audience in a thoughtful manner.

"Olsen House (Hidden Stories)" by Jennifer Palmer, photograph (2016)

So far, what is the longest you spent in any one location?

I crave the chance to be nomadic however, my heart always belongs to one place and that is wherever my horses are located. That is what brought me to Kentucky 10 years ago and what keeps me appreciating this amazing state is all the open land that is still available here. So my journeys tend to be short in nature, however, the list is extensive on places I want to visit, even if it is only short term. 

"Maine Summer" by Jennifer Palmer, 16x22.5in, mixed media on paper (2016), $300 | BUY NOW

What's the most challenging part when starting on a piece of work?

To not worry about what the outcome will be and just create and be in the moment.

How long do you usually spend on a specific piece of art?

It varies and can be a few hours to months. Recently, I have been going over work I had in storage for a few years and remaking it into a new series. I strongly believe in including an element of history in my work and I am enjoying making something new out of pieces that I never felt were quite finished.  It is nice to see new life given to them and also to go back and relive the time period of when I was creating them. 

"Travel Drawing Series (Maine)" by Jennifer Palmer, 9x12in, ink on paper (2016)

Has your style changed or evolved over the years? If so what do you think influenced this?

It has and it goes through cycles. Location and time of year influences it, also the events going on in my life. The most significant change came with the passing of my Mother from pancreatic cancer. She was the inspiration in starting to live my life to the fullest and to finally get my dream truck, and then for this journey to gather stories. I realized how significant stories and personal histories are after you lose someone and they take the stories with them. If you don’t take the time to gather and archive them you will end up losing them forever. And now my work is more about searching out those feelings and memories and I am seeing a shift of including more figurative elements into my work as a way of processing these shifts in life.

If you could meet any celebrity who would it be and what would you ask them?

Wendell Berry and I would love to ask him to show me his favorite location in
Kentucky and learn more about why he chose that spot. 

Name: Jennifer Palmer
Hometown: Simpsonville, Kentucky
Age: 35
Education: MFA in painting from the Savannah College of Art and Design; BA in Art and Political Science, Cedar Crest College (Allentown, Pennsylvania)
Website: http://jenniferpalmer.tumblr.com

"Summer Days (Finchville, KY) by Jennifer Palmer, photograph (2016)

"Maine Traveling Sketchbook" by Jennifer Palmer, ink on paper (2016)

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Written by Keith Waits. Entire contents copyright © 2016 Louisville Visual Art. All rights reserved.

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