"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: Steve Squall

Josh Jenkins · June 16, 2017

"Wabi-sabi is the quintessential Japanese aesthetic. It is a beauty of things imperfect, impermanent, and incomplete. It is a beauty of things modest and humble. It is a beauty of things unconventional..." — Leonard Koren

Photographer Steve Squall’s images luxuriously embrace old school Black & White tonalities and the now-rare use of nude models in nature. As an artist, he is seeking to reconnect to the fundamentals, an intention driven by a specific, almost spiritual motivation.

“My current body of work focuses on the female form with an emphasis on the Japanese aesthetic philosophy of Wabi-Sabi,” explains Squall. “The images focus on simplicity in execution, embracing spontaneity - the ‘happy accident’, and finding the beauty in imperfection. It's largely a reaction to the highly produced work that I do for a living that often requires an entire team of creatives, heavy attention to detail, and a sizable amount of equipment to create.”

"Kasho" by by Steve Squall, 20x20in, photograph (2016), $350 | BUY NOW — *"Kasho" by by Steve Squall, 20x20in, photograph (2016), $350 | BUY NOW*

“Allowing myself to simply walk into a setting with nothing but a camera body, a single lens, a model, and just exploring while stopping to shoot when we find interesting scenes or stunning natural light has been quite a freeing experience. The work has helped me to rediscover the simple joy of just taking a photo without having a jumble of variables running through my head. It's reminiscent of the feeling I got so hooked on when I first picked up a camera and would just point it at whatever I thought looked interesting without worrying about too much else.”

"Wabi-Sabi Portfolio No. 1" by by Steve Squall, 810in, photographs (2016), $350 | BUY NOW — *"Wabi-Sabi Portfolio No. 1" by by Steve Squall, 810in, photographs (2016), $350 | BUY NOW*

Squall’s images are classic in their juxtaposition of the soft human flesh against the stark and harsh textures of the elements. A woman stretched out across a large rock, her hair spread across the surface, is a formal study in contrasting textures, but also a suggestion of humankind in relationship to the environment, the artificial raiment of society discarded but the exposed flesh separated from nature by a vulnerability that cannot be so easily erased.

“I liken the experience to the famous quote attributed to Picasso: "It took me four years to paint like Raphael, but a lifetime to paint like a child." Well, it took me more than four years to photograph like a pro, and now I'm learning how to photograph like a child.”

Hometown: Shively, Kentucky
Education: BA in Graphic Design, Indiana University Southeast, 2009.
Website: www.stevesquall.com

"Cassandra No. 1" by by Steve Squall, 20x26in, photograph (2016), $350 | BUY NOW — *"Cassandra No. 1" by by Steve Squall, 20x26in, photograph (2016), $350 | BUY NOW*

"Enso" by by Steve Squall, 20x20in, photograph (2016), $350 | BUY NOW — *"Enso" by by Steve Squall, 20x20in, photograph (2016), $350 | BUY NOW*

Painting

Vignette: Carol Jones

Josh Jenkins · May 31, 2017

“After 38 years of nursing people back to health, I now apply that care and tender touch to my paintings” — Carol Jones

There is a phrase – the healing arts, that applies specifically to the practice of medicine, but we might as easily use it as a descriptive for the therapeutic value of making art. Beginning in the early 20th century, art sought to challenge, provoke, and even agitate, but the contemplative aspect of painting has stood the test of time.

Carol Jones was a medical professional who occupies her time now painting, and, for her, making art is a process that echoes her work as a nurse: “As a retired registered nurse, I paint for fun and relaxation. Going into my studio and putting on my uniform, now a painter's smock, I smile as I look at the blank piece of board from my local hardware store. I visualize what the finished product will look like after being massaged with brushes and oils. After 38 years of nursing people back to health, I now apply that care and tender touch to my paintings. Each painting is special, just like my patients were, with its own special needs. I have to step back to study and diagnose what would bring more beauty to the piece - a little stroke of color here or a bold push of texture there. And when it's finally ‘well’, I take joy in sending it out into the world.”

"Drapes" by Carol Jones, 24x30in, oil on board (2012), $600 | BUY NOW — *"Drapes" by Carol Jones, 24x30in, oil on board (2012), $600 | BUY NOW*

"Reflections in a Pinwheel" by Carol Jones, 18x24in, oil on board (2015), $500 | BUY NOW — *"Reflections in a Pinwheel" by Carol Jones, 18x24in, oil on board (2015), $500 | BUY NOW*

Like so many artists, Jones pursues a personal course of study, continually taking workshops and studying under nationally known artists such as Charles Gruppe, Caroline Jasper, Robert Hoffman, Cindy Overall, Lori Putnam, Roger Dale Brown, and Dominic Vignola. “Just as with the continuing education courses I took in nursing, each class gives me wonderful new ideas and techniques.”

Jones enjoys painting landscapes, but it is in the near-abstract imagery of her fabric studies that we see qualities of care and nurturing that seems to express her process and aesthetic. They are quiet, but filled with compassion.

Hometown: Elizabethtown, Kentucky
Age: 67
Education: BSN
Website: http://www.caroljonesart.com

"Evening Sail" by Carol Jones, 24x30in, oil on board (2017), $500 | BUY NOW — *"Evening Sail" by Carol Jones, 24x30in, oil on board (2017), $500 | BUY NOW*

"Irish Fishing Village" by Carol Jones, 22x28in, oil on board (2011), $500 | BUY NOW — *"Irish Fishing Village" by Carol Jones, 22x28in, oil on board (2011), $500 |* *BUY NOW*

Painting

Vignette: Geoff Crowe

Josh Jenkins · April 28, 2017

*Artist, Geoff Crowe and his wife, Shannon.*

A Different View of Horse Racing

Some artists paint horses - in Kentucky it’s almost a requirement, but in the paintings by Geoff Crowe we see here, he is not painting horses as individual animals as much as capturing the field in a horse race as one, thundering, entity barreling through the dirt and mud directly at us.

Win, Place, & Show, hold little meaning in these compositions, in which Crowe discovers the collective form and violent motion of the Sport of Kings. At times the results are ominous and foreboding, as in “Full Field”, or “Muddy Day”, wherein the point-of-view suggests precipitous danger, the mass of horse and rider abstracted as if we were witnessing the scene through a rain-smeared windshield.

*"Muddy Day" by Geoff Crowe, 38x72in, acrylic on canvas (2016). Available at Mellwood Arts Pigment Gallery during May.*

In “Race 22” the darkness is replaced by sunlight, and the loose, drip application of some of the paint illustrates the color and kinetic energy we associate with thoroughbred racing, and in “Race 17”, Crowe comes closest to a more standard representational image, in which details of the jockey’s silks are discernable and we can glimpse the individual personality of the horse.

*"Race 17" by Geoff Crowe, 36x38in, acrylic on paper (2016). Available at Mellwood Arts Pigment Gallery during May.*

The artist began his journey in 2004 in Puerto Rico with a show of children playing soccer and today many of his works focus around ballet and horse racing, with the color and texture of the Caribbean remaining an important influence on his work. These elements also carry across to his sculptures and their organic look and feel. Space and movement play a key role in all of his art.

Crowe studied painting and sculpture in Puerto Rico at La Liga deArte and La Escuela de Artes Plásticos. His work can be found in private and corporate collections in Puerto Rico, Ireland, England, California, Florida, Indiana, Kentucky, Texas, and New York. His work can be found at Gifthorse and Regalo in Louisville, and Copper Moon in New Albany.

Crowe will be opening Hoof and Earth at the Mellwood Arts Center’s Pigment Gallery Opening on May 2; there will be a closing reception on May 26th.

Hometown: Walnut Grove, California
Age: 56
Education: BS, Business Administration, Minor Finance 4 years Independent study in Art at La Liga de Arte and La Escuela de Arte Plasticas in Puerto Rico
Website: http://www.studiocrowe.com/
Instagram: https://www.instagram.com/StudioCrowe/

*"Night Race" by Geoff Crowe, 30x60in, acrylic on canvas (2015). Available at Mellwood Arts Pigment Gallery during May.*

*"Race 22" by Geoff Crowe, 36x60in, acrylic on paper (2017). Available at Mellwood Arts Pigment Gallery during May.*

*"Full Field" by Geoff Crowe, 36x30in, acrylic on canvas (2017). Available at Mellwood Arts Pigment Gallery during May.*

Drawing, Painting

Vignette: Britany Baker

Josh Jenkins · March 28, 2017

*"Reflection" by Britany Baker, 108x25in, charcoal on paper (2016)*

For the second year, Louisville Visual Art has selected a local artist to be the Featured Artist for the annual art[squared] Anonymous 8" x 8" Art Sale: Britany Baker.

"Above the Fray" by Britany Baker, 36x36in, oil on canvas (2017), $1800 — *"Above the Fray" by Britany Baker, 36x36in, oil on canvas (2017), $1800*

While the sale will consist of 200 original 8” x 8” pieces by artists from around the region, it will also include this new, larger painting, “Above the Fray”, created by Baker just for this event. For anyone who has seen recent work by the artist, the depiction of a bird will come as no surprise. Baker’s paintings are much sought after by collectors, and the birds are especially popular. It is not difficult to see why.

Baker is known for abstract imagery based on natural forms, as described by Curator Jessica Bennett Kincaid: “…Baker’s fluid imagery saturates the viewer with a heightened connection to their environmental surroundings. Subtly creating an emotive relationship to singular aspects of the places we inhabit, these flowing abstractions allude to the collision of the natural world and human influence.“

Yet the aviary “characters” (they are not real birds) are a highly representational contrast to such work; an exquisite study of nature nestled in feathers that seem at once realistic and a ruse. Because of its position, the creature has the feeling of being in flight, yet the forms surrounding the head also give the appearance of being grounded. Baker creates a compelling tension between the intimacy of the detailed observation of the bird and the epic visual quality of the composition, playing with the viewer’s comprehension in a way that is irresistible.

Since December, Baker has worked full time as the Art Director for Red Pin Media, and is Vice-President at Art Sanctuary, a non-profit community-oriented arts collective supporting local visual, literary, and performing arts through events, promotion, and education.

art[squared]

All works donated to art[squared] will be exhibited anonymously and sold on a first-come, first-served basis at LVA's new location at 1538 Lytle Street on Friday, April 7th at 7 PM. The beauty of anonymous exhibition is viewers will be able to respond to the artwork on its merits alone, without prejudice or preference. Each 8” x 8” piece will be priced at $100. The work will also be on public display for one week leading up to the sale, and any unsold work for an additional week following the sale.

“Above the Fray”, by Britany Baker, will be sold through Silent Auction that will close out at 8:30pm on April 7, 2017. Opening Bid is $1000 and bids will be accepted in increments of $50. If you wish to make a bid before the event, email keith@louisvillevisualart.org with your name, mailing address, email, phone, and bid.

*"Above the Fray (detail)" by Britany Baker, 36x36in, oil on canvas (2017)*

All proceeds benefit CFAC, which educates over 1,000 artistically talented and visually driven children annually in the Greater Louisville area. Last year, we were able to raise over $24,000 during art[squared]! This provided students with scholarships and helped offset instructor and supply costs in all 11 participating Kentuckiana counties!

“Little Bird” by Britany Baker, 8x8in, oil on canvas (2016) NFS - Sold at last years art[squared] event. — *“Little Bird” by Britany Baker, 8x8in, oil on canvas (2016) NFS - Sold at last years art[squared] event.*

We cordially invite you to the art[squared] Artists Reception & Preview Party on Friday, April 7th at 7 PM at LVA (1538 Lytle Street). A great opportunity to snag your favorite 8" x 8" before it's gone the next morning!

Hundreds of art works - the largest number of talented local artists to be found in one location – and each piece is ONLY $100.

For tickets and more details about the event visit:
http://www.louisvillevisualart.org/artsquared2017/

Hometown: Louisville, KY
Age: 46
Education: BFA with concentration in drawing and painting, Xavier University (Cincinnati, Ohio)
Website: http://www.britanybaker.com/

"Aging" by Britany Baker, 24x36in, oil on canvas (2017), $485 | BUY NOW — *"Aging" by Britany Baker, 24x36in, oil on canvas (2017), $485 | BUY NOW*

“Gentler” by Britany Baker, 26x26in, oil on canvas (2014), $450 | BUY NOW — *“Gentler” by Britany Baker, 26x26in, oil on canvas (2014), $450 | BUY NOW*

*“Amaryllis” by Britany Baker, 37x49in, oil on canvas (2015), NFS*

study

Vignette: C.J. Pressma