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

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

Photography

Vignette: Sid Webb

Josh Jenkins · May 30, 2017

“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*

Q&A: Dave Caudill

Josh Jenkins · May 19, 2017

“My sculpture is often placed in public spaces, and it celebrates attributes that enable all of us to thrive – idealism, enthusiasm and the joy of life.” — Dave Caudill

Dave Caudill and the “Odyssey” project

A well-liked, long-time fixture in the local art community, Dave Caudill has several public sculptures in Louisville: at 6th & Main St, the University of Louisville School of Music, Maryhurst Alternative School, the Crescent Hill public library, and the offices of the Waterfront Development Corp in downtown. His latest project is ambitious, even for an artist who has installed a large metal sculpture on the ocean floor.

How did you first hit upon the idea of “Odyssey”?

A few years ago, I realized the synthesis of a fingerprint and labyrinth could make a powerful combination that prompted consideration of identity and our individual journeys though life.

How do you think it fits in with the themes of your past work? Or does it?

I see it as another iteration of the theme of humanity in harmony with the rest of nature, a theme that I first addressed with an undersea sculpture in 1995.

Do you worry a labyrinth will intimidate people? Are people afraid of getting lost?

*Labyrinth concept drawing by Dave Caudill.*

Walking a labyrinth is different from a maze, in that once you'e on a path, it takes you to the center and back out again - there is no confusion or opportunity to get confused or lost as in a maze, as long as you stay on a path. Also, everything is at ground level - there are no walls that create blind spots. This misunderstanding is common, but a small plaque at the entrance to Odyssey will clarify the difference.

We are creating a meditative walking experience fused with a bold piece of public art.

You just returned from Bolivia, where you were involved in a similar project. What was your experience there?

The Bolivian Odyssey differs from my proposal for Louisville in that it’s half the size (1/4 the size of a football field) and uses gravel instead of flat terrazzo over concrete for the paths. The Bolivian project is located in a rural area and creating a handicapped accessible design was not an option.

Who are your collaborators, and how did you connect with them?

*This unique labyrinth will engage people through the consideration of identity and personal journeys through.*

I received a residency to start construction from Teresa Camacho-Hull, the owner and director of Ars.Natura.Uta, an art center near La Paz. She has been developing the center as a site dedicated to addressing the need to understand that the wholeness of our relationship to nature is essential to the health of both humanity and the planet. I met her at a sculptor’s conference in Pittsburgh, an event I was able to attend by a grant from Louisville’s Great Meadows Foundation. Teresa’s staff of three men was indispensable for a 2-week schedule.

What would be your dream location for “Odyssey”?

I’d like to see it in an area conducive to reflection and meditation, like a park. That being said, a strong design can go a long way toward overcoming the noise of an urban environment and establishing a unique asset for the city.

Hometown: Corbin, Kentucky
Age: 66
Education: University of Kentucky, 1970; Louisville School of Art, 1973; Anderson Ranch, CO, 2000 & 2001
Website: http://www.caudillart.com

*An illustration showing an example of the terrazzo artwork that would cover the concrete paths of Odyssey. Each path would be a winding, evolving, unique design.*

Sculpture, Painting

Feature: William M. Duffy

Josh Jenkins · April 25, 2017

“You have to be dedicated, but also giving of yourself.” — William M. Duffy

*"African Heads" by William Duffy, prismacolor on paper*

Everybody calls him “Duffy”. You say that name to anyone in the visual art community over 30 and they immediately know whom you’re talking about. A Louisville native who earned his BFA in Painting from the Louisville School of Art during its fabled heyday in Anchorage back in the 1970’s, he turned to sculpture after chancing upon an automobile collision that freed some marble from a pillar. He was fascinated by the piece of stone and took to it with a hammer and screwdriver when he got home.

Needless to say, William M. Duffy obtained the proper tools, but the story illustrates the unpretentious, workaday touch that seems characteristic of this artist. He has distinguished himself as a sculptor ever since, and a new exhibit at the Kentucky Center for African American Heritage, Folks and Wee Folks: The Work of William M. Duffy, puts a long overdue spotlight on the man and his work.

Duffy was raised on Magnolia Avenue in the West End of Louisville, which, at that time, was predominantly Black, but the elementary school he attended, Virginia Ave. Elementary, was more balanced racially. “In my school, I would say it was closer to 50% White/50% Black back then,” recalls Duffy. He attended Shawnee High School, by which time he already knew he wanted to be an artist. Louisville School of Art came next, where he studied painting with Bob Barton.

But the most crucial influence in those early years was Gloucester Caliman “G.C.” Coxe (1907-1999). The most notable African American artist in Kentucky in that period, he was known as ‘the dean of Louisville’s African American artists.’ Duffy recalls, “He ran the Louisville Art Workshop on 35th Street back in the day, and we all called him, ‘the Master.” Duffy, along with Ed Hamilton, Sylvia Clay, Eddie Davis, and several others were a loose group around Coxe that eventually was given formal shape as “Montage.”

"I Fear None" by William Duffy, silk screen — *"I Fear None" by William Duffy, silk screen*

“It was difficult at that time for any of us as individuals to get a show in Louisville, so we formed Montage because we thought there would be strength in numbers. Part of it was that there was a militant, political edge in much of our work, and that seemed to make it even more difficult to be accepted by traditional galleries.” Montage exhibited as a group for several years, including at The Speed Museum, before disbanding, but this was happening at a time when several young, outspoken Black people holding a meeting could too easily arouse fear and suspicion. “Ed’s Shelby Street studio was kind of our center,” says Duffy, “and one night we emerged from a meeting there to find four police cars waiting for us with questions – ‘what kind of meeting was this?’ – that kind of thing…because the neighbors had called them; and that was in a predominantly Black neighborhood!”

The group also sought opportunities elsewhere. “G.C., Ed, and myself were in a show in Atlanta, so we drove to get to the exhibit opening, and then almost nobody came because the Falcons had a big game at the same time,” recalls Duffy, laughing at the memory. They returned to Louisville the same night driving for 8 straight hours in hammering, blinding rain.

*"A Little Bird Told Me" by William Duffy, 7.75x5x7in, alabaster sculpture (2011)*

But Louisville remained home for all three men, a commitment to the community that Duffy worries is not carrying through with younger generations of African American artists. Having taught youth art classes for over 30 years now (including with LVA), Duffy has seen a lot of talent come up through the education system only to move on to other cities that afford more opportunity. “G.C. stayed here, Ed stayed here…we came together in support of each other, and I’m not certain that is happening enough with young Black artists in Louisville right now.”

“You have to be dedicated, but also giving of yourself. I still hear young people who have the attitude, ‘This is what we need – this is how you can help us… almost never what do you need – how can we help you?” It is a different ethos from Duffy’s halcyon days with Montage. “We were always encouraging each other, always working to help each other out. I built the turntable in Ed Hamilton’s studio that he still uses today. We always did for each other.”

Duffy speaks about his life with self-effacing ease, yet not without a sure sense of his place in the history of African American artists in Louisville. While arguably not as celebrated as some of his contemporaries, his legacy of teaching ensures a lasting influence on the past, present, and future of the Louisville arts community.

Duffy’s work can be found in numerous private, corporate, and public collections, including Phillip Morris USA, Brown-Forman Corporation, Kentucky Fried Chicken (now YUM! Brands, Inc.), Humana Inc., The Louisville Orchestra, and The Speed Art Museum.

*"At Rest" by William Duffy, 6.5x11.6.5in, bronze sculpture (2011)*

Folks and Wee Folks

April 3- May 25, 2017

Monday – Friday, 10:00am-4:00pm

Kentucky Center for African American Heritage
1701 West Muhammad Ali Boulevard
Louisville, KY 40203
502-583-4100
kcaah.org

Hometown: Louisville, KY
Age: 63
Education: BFA in Painting, Louisville School of Art
Gallery Representative: E&S Gallery (Louisville, KY)
Website: http://www.wmduffy.com/

*"Queen for a Day" by William Duffy, alabaster sculpture on wood block*

*Artist, Duffy with his wife Sherrolyn. Photo by Jason Harris.*

Illustration

Q&A: Jeff Dehut

Josh Jenkins · February 16, 2017

Jeff Dehut is a freelance Illustrator working in Louisville, KY specializing in tabletop game design and portraits using traditional mediums such as pen and ink, and watercolor. He is the creator of Pocket Dungeon Quest, a simplified, casual rogue-like tabletop adventure for 2-4 players.

When did you first think you would be an artist?

It was when I was just a small boy. I would sit at home after school and draw comics all afternoon. I knew I wanted to get into art somehow. At that time my thoughts were either as a comic book artist, or concept work for movies and games.

Who or what inspires you now?

I absolutely love Wesley Burt’s style; I could look at his sketches all day. I also love looking at concept art books of any kind.

If you could do anything else but make art, what would it be?

I would probably have to say making coffee. I just love everything about the coffee-making process.

*"Homes" by Jeff Dehut, 8x8in, micron pen (2016)*

What frightens you the most?

Getting stuck at a job that drains me creatively.

*"Enjoy the Little Things" by Jeff Dehut, 8x8in, digital (2017)*

What is your favorite music to listen to when making art?

Typically I listen to documentaries about various things, or audiobooks of all kinds. When I listen to actual music, it’s usually soundtracks or instrumental so I can focus on other things at the same time.

Vinyl or CD?

Neither. Digital.

Favorite movie?

Star Wars, IV, V & VI.

What are you reading right now?

Ha. I just finished the Magnolia Story, it was a super cute book.

What advice would you give a young artist just out of college?

Don’t wait for jobs to come to you. Go get a job - of any kind. Go make your own creative projects while you wait for something creative to turn up. Be proactive. Make the kind of work on your own while you’re not getting paid for it so that when a company is willing to pay someone for it you can be first in line with experience. Go! Do!

*"Illustration Samples" by Jeff Dehut, 3.5x2.5in, ink & marker (2017)*

Tell us about an important moment of transition for you as an artist?

The moment I lost my first salary job. It forced me into freelance for a while which forced me to learn many valuable skills I would not have otherwise acquired.

*"Watercolor Thumb People" by Jeff Dehut, 3.5x2.5in, watercolor & micron pen (2017)*

If you were given a $100,000 what would do with it?

Get a studio of some kind so I could finally unpack all of my art supplies and make bigger work.

What does art mean to you?

This is a huge question... Art is something you create - for me it is usually, to some extent, emotionally charged, and I hope my art makes other people feel that way. Usually I want people to feel happy to see my work.

What do you feel is your greatest flaw?

I typically bite off more than I can chew. I’m getting better at it…kinda.

If you could have a talent that you currently don't already have what would it be and why?

I want to learn about more art mediums or techniques because I always want to learn more about my craft.

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

I would like to get a photo with Enrico Colantoni because I loved him in Galaxy Quest and I think we look very similar. It would be funny!

Does art have a purpose? If so, what is it?

Oh boy. I think it does. The purpose of my art is to make others feel encouraged to be better people.

Hometown: Louisville, Kentucky
Age: 36
Education: Associates in Graphic Design with a specialty in Photography
Social Media: https://www.instagram.com/explosivelimes/

*"Watercolor Faces" by Jeff Dehut, 8.5x11in, watercolor & micron pen (2016)*

school

Vignette: C.J. Pressma