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*

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

Drawing, Mixed Media, Painting

Feature: The Future Is Now, Part 2 of 2

Josh Jenkins · July 19, 2017

Getting Down To Business

“LVA is really stepping up to fill a need in a time when support for art is on a decline in schools. It’s an honor and privilege to be a part of helping our community grow. It’s something that is very important to me personally, and I’m glad that there are others out there that feel the same so we can collectively do things much bigger than we could ever do on our own.”

— Daniel Pfalzgraf (2016 artist mentor)

*"Horny Sea Puppy #1" by Jake Ford (Mentor), fleece, hand dyed cotton, and polyfi (2015)*

The Future Is Now is a program that pairs aspiring young artists with adult, working artists so that they might provide an example by working together on projects that will be exhibited at the end of the process. Facilitated by LVA Director of Education and Outreach Jackie Pallesen in conjunction with Kentucky College of Art + Design at Spalding University (KyCAD), the program selects students through an application process each year. Pallesen gathers a pool of prospective mentors for the students to choose from - working artists whose work and/or studio practice will complement the young artist’s creative talents.

Andrew Cozzens, KyCAD Assistant Professor and manager of the school’s 849 Gallery, was a mentor in the first year, and the experience motivated him to work with Pallesen to forge a formal collaboration on the program. Now many of the combined meetings, which began on May 30, take place in KyCAD studios, with all the efforts culminating in an exhibit that opens July 20 in the 849 Gallery.

On July 11, Cozzens shepherded the group through the final critique, imposing strict time limits to structure the discussion. “This is how we do it in classes here at KyCAD,” he explained, underscoring the intention of the program to prepare the students to function most effectively in a real-world environment with other artists. Most of the mentors spoke, some framing their pairings individual experience before letting the student take over.

Although there is painting and drawing in the work, it was mostly untraditional, using unconventional substrates and illustrating a high degree of experimentation resulting from the interaction between mentor and mentee.

“Brittney Sharp and I are a great match for this project, both as individuals and creatives. Brittney’s work mainly consists of illustration, but she wishes to try new mediums. I was about her age when I started to branch out from drawing, thanks to a student teacher’s assignment that pushed me to try new media. I’m really thankful for the experience and for that teacher challenging me. My hope is to be that person for Brittney, supporting her in expanding her definition of art and how to create it.”

— Bobby Barbour

If the student artists were ever shy about discussing their work in such a format, they were pretty much over it by this meeting. Sunny Podbelsek was highly articulate in deconstructing her process, explaining the very specific emotions that her images were meant to express, while her mentor, Lauren Hirsch, was content to take a back seat in the presentation, only interjecting some observations towards the end of their time.

“Working with Sunny Podbelsek has been an incredibly rewarding experience. I have learned a lot from Sunny and enjoy facilitating her creative process. Pushing her to explore different processes helps me reflect on my own work from a new perspective, and the shared energy of the collaborative process gives me a renewed sense of excitement to explore new ideas in my own work.”

— Lauren Hirsch

Hannah Lyle and Dominic Guarnaschelli described how their images, portraits of family members painted on transparent plexiglass, would be hung from a sculptural apparatus attached to the ceiling, and how they were hoping to have some reflection, or shadows, cast on the gallery walls if the lighting could be managed.

“From the start I was immediately impressed with Hannah. Very sharp and eager to dive in, Hannah was overflowing with ideas for our collaboration and ready to learn new skills and work with unfamiliar media. Hannah has been open to experimentation and incorporated other interests in math and science during this process. Throughout the summer, I was very struck by Hannah’s confidence. I can’t wait to see what the future holds for Hannah.”

— Dominic Guarnaschelli

Deb Whistler and Rashad Sullivan showed what felt like nearly finished twin B&W self-portraits that were striking in their consistency. Working from photographs they took together, the drawings incorporated autobiographical text painstakingly rendered into the background, a feature inspired by their conversations together.

“Rashad and I spoke quite often, sometimes by phone, and I loved the stream-of-consciousness in the way he talks.”

— Deb Whistler

The final instruction for the evening was for each pair to place themselves in the gallery in the place they imagined the work would be presented, so that Cozzens could discuss specifics of installation. It was interesting that no pair had selected the same spot, and that the mentors had already discussed hanging and placement with the students as the work developed.

All of the work will be installed by the group before the opening reception for the exhibit, which is July 20, 5-7pm at KyCad’s 849 Gallery.

Anyone interested in participating in the 2018 Future Is Now can find more information on applying at this link: http://www.louisvillevisualart.org/the-future-is-now

"Drawing 1" by Lauren Hirsch (Mentor), 24x36in, mixed media, $550 | BUY NOW — *"Drawing 1" by Lauren Hirsch (Mentor), 24x36in, mixed media, $550 | BUY NOW*

This Feature article was written by Keith Waits.
In addition to his work at the LVA, Keith is also the Managing Editor of a website, www.Arts-Louisville.com, which covers local visual arts, theatre, and music in Louisville.

Mixed Media, Painting, Drawing

Feature: The Future Is Now, Part 1 of 2

Josh Jenkins · July 18, 2017

What is The Future Is Now?

"Untitled' by Lauren Hirsch (Mentor), 19x30in, mixed media, $600 | BUY NOW — *"Untitled' by Lauren Hirsch* *(Mentor), 19x30in, mixed media, $600 | BUY NOW*

The word itself has its origins in Greek Mythology, Mentor being the name of a friend of Odysseus entrusted with the education of Odysseus' son Telemachus. Like so many things that have weathered the passage of time, the concept of mentorship in contemporary society has taken on a variety of nuanced shadings, but the essential idea remains the same: for an older, more experienced individual to guide or instruct a person who has less experience.

But isn’t that a teacher? We seem to have a greater expectation now that a mentor also provides an example beyond formal instruction. A teacher in a classroom setting might be a mentor, but a mentor need not be teacher in a classroom.

The Future Is Now is a program that pairs aspiring young artists with an adult, working artist so that they might provide that example by working together on projects that will be exhibited at the end of the process. Born in the mind of Daniel Pfalzgraf, now Curator at the Carnegie Center for Art & History, and facilitated by LVA Director of Education and Outreach Jackie Pallesen, the program selects students through an application process each year. Pallesen gathers a pool of prospective mentors for the students to choose from - working artists whose work and/or studio practice will complement the young artist’s creative talents.

"Healer" by Dominic Guarnaschelli (Mentor), 47x35x6in, UV print, acrylic, steel, and electric cord on panel (2017), $800 | BUY NOW — *"Healer" by Dominic Guarnaschelli* *(Mentor), 47x35x6in, UV print, acrylic, steel, and electric cord on panel (2017), $800 | BUY NOW*

The program is executed in conjunction with Kentucky College of Art + Design at Spalding University (KyCAD). Andrew Cozzens, KyCAD Assistant Professor and manager of the school’s 849 Gallery, was a mentor in the first year, and the experience motivated him to work with Pallesen to forge a formal collaboration on the program. Now many of the combined meetings, which began on May 30, take place in KyCAD studios, with all the efforts culminating in an exhibit that opens July 20 in the 849 Gallery.

Those meetings follow a structure designed to give shape to the creative dynamic and demand communications etiquette between everyone involved. “Things can get off track so easily if accountability to the members of the team is not emphasized,” states Pallesen, who facilitates the early stages of the process. “There is certainly structure, but at some point the relationship between mentor and mentee takes over.”

That relationship is given a foundation of introductions and icebreaking exercises, formal presentations by each artist of their work, and some attention to art history. A series of critiques led by KyCAD faculty allow each pair to present their respective projects to the group and receive feedback.

"While You Wait (detail)" by Deb Whistler (Mentor), pen & ink, cut paper & plexiglass — *"While You Wait (detail)" by Deb Whistler* *(Mentor), pen & ink, cut paper & plexiglass*

The Future Is Now looks for student artists who have substantial ambition to pursue art or design in their college choices. Most are thinking about fine art programs, but this year includes a fashion designer, Ballard High School student Nicole Scott, who Pallesen lined up with Jake Ford. “Nicole wanted a fashion professional, naturally enough, but I encouraged her to work with Jake, whose sculpture is so conceptual. I hoped it would help her develop the idea of concept and narrative in clothing and challenge her more.”

Eventually the pairings broke down this way:

Bobby Barbour, multi-media artist - Brittney Sharpe, Eastern High School
Deb Whistler, 2-D artist - Rashad Sullivan, Western High School
Dominic Guarneschelli, multi-media artist - Hannah Lyle, Ballard High School
Jake Ford, multi-media artist - Nicole Scott, Ballard High School
Lauren Hirsch, 2-D artist - Sunny Podbelsek, duPont Manual High School
Linda Erzinger, multi-media artist - Heavenly Tanner, Academy @ Shawnee

Brittney Sharp’s chosen mediums are colored pencil, markers, or acrylic paint. This year she won an honorable mention from the Scholastic Art & Writing Awards. Last year she was a part of her schools Vans Custom Culture team and the team ending up winning in their region. The Eastern Vans team tied for 4th place after moving on to national voting.

Rashad Sullivan excels in the fine arts department and is an excellent draftsman. He free hands all of his artwork, which is often detailed drawings of animals and objects. He especially likes to use value in his artwork.

Hannah Lyle currently attends Ballard High School. They enjoy oil painting, and they are a member of NAHS (National Artist Honors Society) at their school.

Nicole Scott is busy developing her own website "uNique Styles" and her fashions have been featured in the local Sew Much Fun e-Newsletter. In October 2016, Nicole won second place in the University of Louisville Youth Pitch Fest.

Sunny Rae Podbelsek loves to draw and create comics and characters. She mostly uses pen, marker, and watercolor but also loves paint and printing. Podbelsek has won many awards, including a total of 4 regional Silver keys, 5 regional Gold keys, 8 regional honorable mentions, and 1 National Silver key in the Scholastic art and writing awards. She is a 2017 Governor’s Scholar.

Heavenly Tanner's chosen medium is drawing, which includes graphite pencil, sharpie pens, and markers. Her accomplishments include winning the Kentucky Derby Art Contest when she was in elementary school, she also received a scholarship to the University of Louisville for art by winning an art contest put on by the university.

Tomorrow, Part 2: Critiques and Results

Fiber, Ceramics

Feature: Elmer Lucille Allen

Josh Jenkins · February 10, 2017

"I love the academic environment. I am a perpetual student." — Elmer Lucille Allen

*Artist Elmer Lucille Allen (Photo by Tom LeGoff)*

When Kentucky Center for African American Heritage Center Director Aukram Burton describes Elmer Lucille Allen as, “one of our Elders,” he is not just acknowledging that the ceramic and fiber artist is an Octogenarian. The term carries weight in various cultures, but in parts of Africa it specifically denotes a connection to ancestors, the dead who remain vested with mystical power in the kin-group, and the elder’s authority stems from the idea that they are representatives of the ancestors to the contemporary community.

Elmer Lucille Allen is as approachable and convivial as anyone you would ever meet, but she is a “senior” (the far less satisfying American appellation) who has never truly retired. She earned the gold watch, so to speak, after 31 years as a chemist at Brown-Forman, where she was the first African American chemist to be hired (in 1966). In the twenty years since she retired, she has established herself as one of the most important artists in Louisville and an important influence on succeeding generations.

In person, Ms. Allen is an archetypal matriarch, speaking in the unadorned but nurturing language you would expect from any great-grandmother. She exhibits little outward evidence of the depth of her academic background, the years spent as a community activist, and the position she occupies in local history; she never wears her ‘status’ on her sleeve. She puts it this way: “I take it as an honor because what I do is part of who I am.”

"Untitled ELA #5" by Elmer Lucille Allen, Shibori Wall Hanging Red Kona Cotton – Stitched Resist – Dyed Blue Price, $2000 | BUY NOW — *"Untitled ELA #5" by Elmer Lucille Allen, Shibori Wall Hanging Red Kona Cotton – Stitched Resist – Dyed Blue Price, $2000 | BUY NOW*

“I became involved in the art scene in the early 1980s when Ken Clay, then head of Renaissance Development, held the first African American (AA) Arts Conference at the Galt House. After this conference, the Kentucky Coalition for Afro-American Arts, Inc. (KCAAA) was formed. I was the first and only president of this organization that lasted 10 years. When I decided that I did not want to continue as President, the treasury was donated to the Arts Council of Louisville. I was a charter member of the ACOL and a treasurer for four years.”

Ms. Allen states she has never felt a bias in the arts, but her history before she was an artist is another matter, and reflects the time. “Remember, I came up through a segregated system and did not have classes with a white person until I was a junior in college. I experienced racial difference when Nazareth College (now Spalding University) graduates in 1953 were looking for a place to host a graduation event. The event was eventually held at the Knights of Columbus Hall.”

“When I graduated I could not get a job as a chemist in Louisville. The only jobs available were teaching. My first job was as a clerk typist in Indianapolis, Indiana, at Fort Benjamin Harrison. There was bias on that job - one person from a city in Indiana had never been around a "colored" person, but you have to be who you are and stand up for what you believe. ‘Speak to a person even if the person does not acknowledge you.’”

Allen took her first pottery class at Seneca High School in the late 1970’s after her children were all grown and out of the house. She never gave empty nest syndrome a chance, following up with mold ceramics or pottery classes through JCPS and New Albany adult education. But this was still just the beginning: “Then I enrolled in a ceramics class at Metro Arts Center where I studied with Melvin Rowe. Also, while I was a student there I had the pleasure to meet Laura Ross, a national ceramic artist who encouraged me to take classes at the University of Louisville with internationally recognized ceramicist Tom Marsh.”

But studying ad hoc wasn’t enough, and, after retiring she decided to seek a masters in ceramics at U of L. It was while studying for her master’s that she was introduced to a second art media - fiber/textiles. “My thesis exhibition consisted of stenciled wall hangings and over 200 reduction fired porcelain sculptural boxes that were placed on boards on the floor, which meant you had to view the pieces while standing.”

*Lucille Allen in a workshop (Photo by Aron Conaway)*

Whatever racial or gender restrictions she encountered in her earlier life, Allen’s first years in the art world were mostly lacking in such difficulties. “I have not experienced any discrimination as a woman artist or as an artist of color. My work does not depict any culture - it speaks for itself. I create work that I enjoy making. I do not do commissions. I have been fortunate because I did not have to depend on selling art for a living. I retired in 1997 and have been volunteering in some capacity ever since.”

Yet she is not blind that many artists of color find it a challenge to reach wider audiences and secure their place at the larger community table, particularly in the visual arts world. “I think that one organization needs to take control. At the present every organization's president has their own agenda and is not looking out for other persons or organizations, and small organizations normally do not have a specific place, computer equipment, or expertise for such large undertaking.”

One of the values of being an Elder is that you have been a witness to the changes in the arts and cultural landscape that surrounds you. Allen can recount a time when there was much effort in the name of unity and inclusion. “Years ago, Louisville Visual Art had a large (non-digital) database of artists and arts organizations. The Kentucky Arts Council funded two directories of African American artists in the Commonwealth of Kentucky. Two conferences were held, one in Lexington, and one in Louisville. They conducted free workshops for the community at the Chestnut Street YMCA, West End branch of the YWCA, as well as other venues. Bale McKnight, who conducted drum making at the YMCA, created a drum that was in Chickasaw Park, which was the first public art project in the West End. KCAAA was the fiscal agent for Educations Arts and the dance group founded by Harlina Churn.” You see, Elders know the history.

So how does Louisville recapture that level of motivation again? What actions need to be taken today to build a functional community network? Allen feels, “Everyone is waiting for someone else to do the hard work,” but individuals who want to be leaders need to focus on developing their game in crucial ways; Elders also get to give advice:

Organizational and leadership skills are a must.
You have to show up and be willing to assume responsibilities.
You must not be afraid to fail. You learn from your mistakes.
You, as a leader, must be presentable and responsible for your actions at all times. Remember the golden rule - Do unto others as you want others to do to you.
You must be punctual.
Respect the time of others. Meetings should have an agenda and should not exceed two hours.

"Untitled ELA #2" by Elmer Lucille Allen, Stenciled Wall Hanging Black Polyester Fabric Price, $750 | BUY NOW — *"Untitled ELA #2" by Elmer Lucille Allen, Stenciled Wall Hanging Black Polyester Fabric Price, $750 | BUY NOW*

So how does this near-iconic status affect Elmer Lucille Allen’s work as an artist? Or does it? “My work is not impacted by my place in history,” states Allen. ”The work that I have done since 1981 speaks for itself. I have been the volunteer curator/director of Wayside Christian Mission's Wayside Expressions Gallery since 2005. My goal is to showcase artists, some of which have never exhibited. My second goal has been to have an African American artist or artists for February. I have done the scheduling, press releases, fliers, finding new artists, etc., from my home. I think my presence in the art world has afforded me the opportunity to be asked to serve as judge for the 2016 Fund for Arts, as a panelist for Metro arts grants, etc.”

“I think that over the years, the community sees who is where and what you are doing. Action speaks louder then words.”

You can see Elmer Lucille Allen’s work as a part of the Louisville Visual Art exhibit Tessile Ora, at Metro Hall, now through May 26, 2017.

Recognitions/Awards:
Louisville Defender – Lifetime Community Service Recognition Award (2016)
Outstanding Community Leader by Metro Council (2016)
Kentucky Museum of Art and Craft’s First Art and Advocacy Award – Bourbon Bash (2015)
Parkland Rising Up Project (2015)
Community Spirit Award given by the University of Louisville College of Arts and Science and the Yearlings Club (2015)
Spalding University Caritas Medal (2011) - the highest honor awarded to an alumnus

"Untitled ELA #4 – Shibori Wall Hanging" by Elmer Lucille Allen, Natural Silk Noil – Three Panels - Stitched Resist and Pole Wrapped – Dyed Blue, $1000 | BUY NOW — *"Untitled ELA #4 – Shibori Wall Hanging" by Elmer Lucille Allen, Natural Silk Noil – Three Panels - Stitched Resist and Pole Wrapped – Dyed Blue, $1000 | BUY NOW*

"Untitled ELA #1" by Elmer Lucille Allen, Stenciled Wall Hanging Black Polyester Fabric Price, $750 | BUY NOW — *"Untitled ELA #1" by Elmer Lucille Allen, Stenciled Wall Hanging Black Polyester Fabric Price, $750 | BUY NOW*

Drawing, Mixed Media, Illustration, Painting

Vignette: Damien Vines

Josh Jenkins · January 3, 2017

"Bull" by Damien Vines, 22x28in, charcoal and ink (2015), $80 | BUY NOW — *"Bull" by Damien Vines, 22x28in, charcoal and ink (2015), $80 | BUY NOW*

"Skateboard" by Damien Vines, 30x8in, acrylic and oil markers (2016), $100 | BUY NOW — *"Skateboard" by Damien Vines, 30x8in, acrylic and oil markers (2016), $100 | BUY NOW*

Viewing the work of an art student can illustrate the development of ideas, almost as if we are given glimpses into the creative mind, watching in real time the active thinking that is at play. Damien Vines’ drawings here are sometimes, simple and linear, but also rough sketches of larger themes that the young artist may be only beginning to explore. His approach is very illustrative, with a fair dose of the fantastical present. His design for a skateboard might have appeared in magazines or a comic book, so clearly is that ancestry evoked, but what of the Bull? Exposed to the bone and dripping from slaughter, the beast carries a burden on his back; the weight of industrialized society. It’s a provocative image made all the more impactful by the subtle turn of the bovine head, which stares at the viewer with one, empty, blood-red eye socket. Does it go far to imagine the dripping red beneath might suggest tears?

“My work aims to make the viewer question the intent of subtle meaning and symbolism, I aim to make the work not one note but instead to create a conversation. I explore imagery and ideas that might be considered disturbing such as living with serious mental illness or the boundary between psychopathy and fictional characters.”

Despite his more serious intentions, Vines is clearly enjoying himself with lighter, irreverent collages such as this one that ‘paints’ one arm of Michelangelo’s David with candy color, covering the body like a post-Modern pauldron or vambrace - pieces of protective armor. The contrast in the approaches are may seem sharp, but it is clear evidence of the uncertain, restless mind that drives an artist to communicate.

Hometown: Louisville, Kentucky
Age: 21
Education: BFA candidate, Painting and Drawing, Kentucky College of Art + Design at Spalding University, Louisville, Kentuck

"Drawings (series)" by Damien Vines, 8.5x11in, dry point prints and watercolor (2016), $120 | BUY NOW — *"Drawings (series)" by Damien Vines, 8.5x11in,* dry point prints and watercolor (2016), $120 | BUY NOW

*"Untitled" by Damien Vines, 16x20in, graphite and pastel (2016)*

*"Untitled #2" by Damien Vines, 4x6in, collage (2016)*

*"Untitled #3" by Damien Vines, 18x24in, markers on paper (2015)*

student

Vignette: Mitch Eckert