Art ,“born out of frustration,” — Mitch Eckert

Like many artists, Mitch Eckert works in several different veins. Here we examine some examples from his Translations series. Eckert explains that he has been exploring the genre of still life for 25 years, and in these images we see him emulating the lighting in Flemish paintings. At one point Eckert had sought to discard the project and placed the work prints in a recycle bin – a purging action more common than the lay person might assume, but familiar enough to working artists. Eckert explains the process in his own words:

“Still Life with Cherries and Blue Bowl” by Mitch Eckert, 30x49in, Archival Pigment Print (2006), $1200 | BUY NOW — *“Still Life with Cherries and Blue Bowl” by Mitch Eckert, 30x49in, Archival Pigment Print (2006), $1200 | BUY NOW*

“Still Life with Two Nectarines” by Mitch Eckert, 38x26in, Archival Pigment Print (2006), $850 | BUY NOW — *“Still Life with Two Nectarines” by Mitch Eckert, 38x26in, Archival Pigment Print (2006), $850 | BUY NOW*

“The Translations series was born out of frustration. I wanted to participate in a dialogue with the rich tradition of the Dutch masters of still life painting so I set out to learn compositional strategies of creating still lifes in that manner. I set up the floral arrangements (my wife made the bouquets from our garden flowers) and using natural light made probably 300 photographs of different still life. After printing them all on an inexpensive inkjet printer to pin them on my wall and contemplate, I came to the realization that perhaps they were too commercial, too pretty. As a student in the heyday of Postmodernism (1980's) I became anxious and nervous about making work that was too pretty. I didn't know how to talk about them. I didn't want to make commercial work.”

“Out of frustration I wadded up the prints and threw them into the recycle bin. After a couple weeks had gone by I was getting ready to set the crumpled photographs into the alley for the recycle to be picked up. I unraveled one of the balls of photographs and to my surprise there was an immediate visceral reaction of delight when my eyes looked at the creases, folds, and torn edges of the photographic paper. In an effort to preserve the image I scanned the crumpled still life with a flatbed scanner and then, using a large format printer, made enlargements on a wonderful printmaking paper that wonderfully complimented the aged wrinkles.”

“Still Life with June Bouquet, Cherries and Figs” by Mitch Eckert, 24x18in, Archival Pigment Print (2006), $450 | BUY NOW — *“Still Life with June Bouquet, Cherries and Figs” by Mitch Eckert, 24x18in, Archival Pigment Print (2006), $450 | BUY NOW*

The results blur the lines of the medium by removing the slick surface and detail of photography and exchanging them for a distressed visual texture. Without intending to do it, Eckert brought his images even closer to the aged and brittle tactile reality of their inspiration.

Examples of this series can currently be seen in Altered Perceptions, an LVA Photo-Biennial Exhibit at Metro Hall, which runs through January 12, 2018. Some of the images we see here are featured in that show, which also includes work from C.J. Pressma and Jenny Zeller.

The artist currently lives in Louisville, Kentucky where he is an associate professor or art in the Hite Institute at the University of Louisville. His work can be found in permanent collections of 21c Museum, Butler Institute of American Art, Indianapolis Museum of Art, the Photographic Archives at the University of Louisville, and Swope Museum of Art.

Hometown: Indianapolis, Indiana
Education: BFA, Photography & Sculpture, Herron School of Art; MFA, Photography, Printmaking, Art History, Ohio University
Website: http://www.mitcheckert.com

“Still Life with Hydrangea (in blue)” by Mitch Eckert, 30x28in, Archival Pigment Print (2006), $750 | BUY NOW — *“Still Life with Hydrangea (in blue)” by Mitch Eckert, 30x28in, Archival Pigment Print (2006), $750 | BUY NOW*

“Still Life with Lily and Figs” by Mitch Eckert, 24x18in, Archival Pigment Print (2006), $500 | BUY NOW — *“Still Life with Lily and Figs” by Mitch Eckert, 24x18in, Archival Pigment Print (2006), $500 | BUY NOW*

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Photography

Vignette: Julius Friedman (1943-2017)

Josh Jenkins · July 21, 2017

*"Peony" by Julius Friedman, photography*

*Artist, Julius Friedman. Photograph by Sarah Davis.*

Once when Julius Friedman was delivering an informal lecture for Louisville Visual Art, he noted how the cover of his most recent book at the time, “Images & Ideas”, was a shot of the condensation on his shower door, and how he had once waited 2 hours for a car to move off a particularly fascinating oil and water puddle in a parking lot so he could photograph it.

Friedman’s images are characteristically so expertly constructed and expressive of a stringent graphic discipline that the randomness at the root of this anecdote seems surprising, but I think the lesson is that an artist does indeed see the world differently; at all times observing their environment on a fundamentally different level than the average citizen.

Art is communication, so if the ability to share that point-of-view is the most important measure of an artist, then Friedman must be counted as a Modern Master. His commercial work, most notably the posters that made him famous in the 1970’s, are brilliant in capturing the appeal of art in terms so vivid as to command the attention of all levels of society. In effect, he established a brand for the arts in Louisville, designing iconic images for so many important arts organizations: The Speed Museum, Louisville Visual Art, the Louisville Ballet, the Louisville Orchestra…the list goes on and on.

*"Erica de La O 1" by Julius Friedman, 20x30in, photography printed on aluminum (2010)*

He did no less in his personal work, exploring technique on an esoteric level that always translated to fun and fascination for the viewer. He photographed Louisville Ballet dancer Eric De La O exhaustively but never exhausted the subject, producing dozens of potent images over several years. He photographed flowers, a prosaic and common subject that in Friedman’s hands become an astonishing example of his own relationship with nature. The same observation applies to his Becoming Wisteria series, images of model Alli Wiles positioned among the wisteria on his 200-acre farm.

In 2016, Frazier Museum in Louisville hosted a vital retrospective of Friedman’s work, showing more than 200 posters and also incorporating The Book, a project in which he deconstructed a collection of discarded books and which was his last published work. There was also a dazzling installation of color photographs on aluminum that, in and of itself was impressive enough to represent his creative vision, but what most excited the artist was an immersive screening of his most recent film work, flowing, abstract images of water in nature.

It was just water running in a stream – or it was simply peonies, or a painter’s palette, or an old book, but Julius Friedman always made us see the commonplace in a new light.

Hometown: Louisville, Kentucky
Website: http://www.imagesol.com

*Nathan Felde, Fred DeSanto, and Julius Friedman (c.1970) outside Images studio. Photographer unknown, courtesy Tad DeSanto.*

*"Untitled #10" by Julius Friedman, 20x30in, photograph printed directly on raw aluminum (2015)*

*Book cover for "Images & Ideas" by Julius Friedman*

*"Fresh Paint" by Julius Friedman, photography*

*Artist, Julius Friedman. Photo courtesy of John Nation.*

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*

Photography

Vignette: Judy Rosati

Josh Jenkins · January 23, 2017

"Buffalo (Custer)" by Judy Rosati, 16x20in, hand colored silver gelatin photograph (2015), $125 (matted & framed) | BUY NOW — *"Buffalo (Custer)" by Judy Rosati, 16x20in, hand colored silver gelatin photograph (2015), $125 (matted & framed) | BUY NOW*

Hand coloring black & white photographs may seem quaint or old-fashioned, yet in a time when we are inundated with digital imagery in our every waking moment, the virtues of such an approach are not difficult to understand: occasionally we need to rest our overexposed, weary eyes. Judy Rosati’s use of the technique has the effect of allowing us to view the busy world in slow motion and ponder what it must have been like before we were swallowed up by the media age.

"Old Faithful (Yellowstone National Park)" by Judy Rosati, 16x20in, hand colored silver gelatin photograph (2015), $125 (matted & framed) | BUY NOW — *"Old Faithful (Yellowstone National Park)" by Judy Rosati, 16x20in, hand colored silver gelatin photograph (2015), $125 (matted & framed) | BUY NOW*

Rosati’s approach has shifted recently to an even more informal, subjective use of color that introduces abstraction to what are determinedly representational images. In “Old Faithful” the familiar geyser in Yellowstone National Park is less tourist image than a study that blurs the distinctions of the natural world, rendering the kinetic motion as a surreal curtain being drawn across our field of vision, the subdued tones evoking nostalgia while simultaneously reducing depth and dimensionality.

Rosati shoots both film and digital, but her hand-colored photographs are printed from film negatives. “After the print is made, I use Marshall's Photo Oils and Prisma pencils, “ she explains. “My attempt to personalize my interpretation of the subject matter is evident by the spontaneous use of color, as well as the retention of some of the natural aspects of the original black, white and gray areas. No two photographs are exactly alike, making each one unique.”

"Geese in Winter" by Judy Rosati, 16x20in, hand colored silver gelatin photograph (2016), $125 (matted & framed) | BUY NOW — *"Geese in Winter" by Judy Rosati, 16x20in, hand colored silver gelatin photograph (2016), $125 (matted & framed) | BUY NOW*

The artist is the owner of Judy Rosati's Fine Arts Photography LLC, a juried member of Louisville artisan's Guild--co-liaison (photographer) to web curator, Jury committee member; scholarship committee juror. Rosati is a Juried member of Kentucky Crafted--regular juried artist in Kentucky Arts Council shows, and an Artist member of Louisville Visual Art. She was a digital photography Instructor in Bellarmine's School of Continuing & Professional Studies for 11 years, and still gives private digital photography instruction.

Rosati’s work will be a part of the Kentucky Arts Council exhibit, Kentucky Visions at The Capitol, January-March 2017.

Hometown: Louisville, Kentucky
Age: 72
Education: Bachelor’s Degree (Art education; Health & Physical education), Western Kentucky University; Master’s Degree in Arts Education, Eastern Kentucky University
Gallery Representative: Edenside Gallery (Louisville)
Website: http://www.judyrosatiphotography.com/

"Wildflower Walk in the Parklands" by Judy Rosati, 16x20in, hand colored silver gelatin photograph (2016), $125 (matted & framed) | BUY NOW — *"Wildflower Walk in the Parklands" by Judy Rosati, 16x20in, hand colored silver gelatin photograph (2016), $125 (matted & framed) | BUY NOW*

*"Parklands of Floyd's Fork in Winter" by Judy Rosati, 16x20in, hand colored silver gelatin photograph (2015)*

Painting

Vignette: Patrick Donley

Josh Jenkins · October 7, 2016

As a painter, Patrick Donley became known earlier in his career for distinctive acrylic paintings; compositions of spherical objects applied with an insistent mark-making technique. Then, for several years he worked with found objects, first in 3-D wall-hanging constructions of freewheeling spatial complexity, and then in The Memento Series, which incorporated old photographs into intimate collages that evoked communal memories of the past.

More recently, Donley has embarked on, “…a path of rediscovery,” returning to the sphere, and if, at first glance, the paintings look the same, and most easily connote astronomical perspectives on heavenly bodies, there is indeed the same concern for relationships in space, but have the years of focus on 3-D informed the artist’s mark making, so that we feel a greater plasticity in the modeling of form - a greater freedom now in the application of medium? Whatever we imagine, Donley finds a curious tension in the work: There is something surreal happening that is at once perplexing while at the same time pleasing.”

"Untitled #2" by Patrick Donley, 36x36in, mixed media on canvas — *"Untitled #2" by Patrick Donley, 36x36in, mixed media on canvas*

"I draw with a brush. I draw with graphite. I draw with charcoal. I stain, and I glaze. Collage is worked into the surface, and I draw over that. I render worlds, and I proffer particles. Accident belies intention. Color justifies the means. I enjoy what I do, and I offer it up to you."

A long-time member, now co-owner of Zephyr Gallery, Patrick Donley has been making art since the early 80’s in one form or another. His work can be found in collections from New York to Seattle, including Paul Allen, founder of the EMP Museum. Locally, his paintings and sculptures are located in numerous corporate and private collections.

Hometown: Louisville, Kentucky
Age: 54
Education: BA in Painting, Davidson College in Painting; MFA in Painting and Drawing, Northwestern University
Website: http://patrickdonley.wix.com/donleyart

"Untitled #1" by Patrick Donley, 25x31in, mixed media on canvas — *"Untitled #1" by Patrick Donley, 25x31in, mixed media on canvas*

"Untitled #3" by Patrick Donley, 36x38in, mixed media on canvas — *"Untitled #3" by Patrick Donley, 36x38in, mixed media on canvas*

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Please contact josh@louisvillevisualart.org for further information on advertising through Artebella. — *Please contact* *josh@louisvillevisualart.org* *for further information on advertising through Artebella.*

photographs

Vignette: Mitch Eckert

Art ,“born out of frustration,” — Mitch Eckert

Vignette: Julius Friedman (1943-2017)

Vignette: Tom Cannady

Vignette: Judy Rosati

Vignette: Patrick Donley