“The bison struck me as moving mountains, impervious to time and elements.”
– Kathie Daulton

"Mountain Goes to Mohammed" by Kathie Daulton, 20x16in, oil on canvas (2017), $400 | BUY NOW — *"Mountain Goes to Mohammed" by Kathie Daulton, 20x16in, oil on canvas (2017), $400 | BUY NOW*

Kathie Daulton believes the purpose of modern representational art is to stop time. Arguably, any static image accomplishes this, but in “Museum Row” the street scene seems frozen, except for one figure allowed a sense of motion, a women in white and purple who might be in a world of her own at this moment, her penetration into the space so intentional as to make the rest of us feel as if we are standing still.

In “Mountain Goes to Muhammad,” the painter confronts the stoic gaze of a nearly immovable object, a massive bison on the American prairie. Time again stands still, but with an underlying tension in anticipation of what the monolithic creature might do next in the sunbaked landscape that was his domain long before humankind encroached.

That quality of immutability carries over into a painting of bicyclists. Intellectually, we know that they are in motion, yet the image arrests them sufficiently to suggest the figures moving slowly, with gravitas, as a herd of bison might move. The swift speed of the scene is downplayed in favor of what Daulton refers to as, “…some less definable essence of a moment.”

"Old Hippies" by Kathie Daulton, 20x16in, oil on canvas (2015), $300 | BUY NOW — *"Old Hippies" by Kathie Daulton, 20x16in, oil on canvas (2015), $300 |* *BUY NOW*

Daulton has studied with local artists Rita Ford Jones, Joyce Sweet Bryant and Cathy Hillegas, and attended workshops with nationally acclaimed artists Judi Betts and John Michael Carter. She is an active member of the Floyd County Crit Club and Madison Art Club. She received a purchase award in the Ohio Valley Regional juried show in 2002, and a first in an annual Floyd County Crit Club show in 2013.

Daulton's work is displayed at Art on Main in Madison, Indiana. She will also be exhibiting with other Floyd County Crit Club members during the month of September at Pearls on Pearl, New Albany.

Hometown: Charlestown, Indiana
Education: Self-Trained
Facebook: https://www.facebook.com/At-the-Lake-Painting-278423408862954/

"Big Four Bikes" by Kathie Daulton, 20x16in, oil on canvas (2015), $300 | BUY NOW — *"Big Four Bikes" by Kathie Daulton, 20x16in, oil on canvas (2015), $300 | BUY NOW*

*"Big Four Bikes (detail)" by Kathie Daulton*

"Museum Row" by Kathie Daulton, 16x20in, oil on canvas (2012), $300 | BUY NOW — *"Museum Row" by Kathie Daulton, 16x20in, oil on canvas (2012), $300 | 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.*

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.*

Painting, Drawing

Vignette: Sunny Ra

Josh Jenkins · April 18, 2017

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

Artist, Sunny Ra. Photo by Dan Lubbers. — *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 — *"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 — *"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 — *"Might" by Sunny Ra, 11x14in, oil on paper (2016), $450 | BUY NOW*

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*

Fiber

Vignette: Kathleen Loomis

Josh Jenkins · January 17, 2017

***“My flags are somewhat the worse for wear.”* — *Kathleen Loomis***

"Fading" by Kathleen Loomis, 59x99in, fiber (2016) $8000 | BUY NOW — *"Fading" by Kathleen Loomis, 59x99in, fiber (2016) $8000 | BUY NOW*

Political art can be a misnomer; on some level all of art is, by its very existence, ‘political’, and more overt statements are often best realized in simple terms. In her most recent work, Kathleen Loomis has been working with the American flag, appropriate both in that she is a fiber artist, and that there is arguably no symbol that carries more emotional and thematic weight than the Red, White, and Blue.

"Flagging" by Kathleen Loomis, 98x54in, fiber (2016) $7000  | BUY NOW — *"Flagging" by Kathleen Loomis, 98x54in, fiber (2016) $7000 | BUY NOW*

“The flag is a stand-in for our country, so flags in distress convey feelings about the state of our democracy. Even beyond the disturbing recent elections, it seems that so many things in government and our legal system are going downhill. Maybe our nation and its democratic ideals aren’t as crisp and bright as they used to be; as a nation we are getting weary and have lost our mojo, so my flags are somewhat the worse for wear.”

Loomis’ statement may reveal a particular position, and the images are equally straightforward, yet they do not limit themselves by pointing to cause or solution. There are protocols for flying the flag that reinforce that it is also a vital tool for communication – flown upside down it is a symbol of distress to approaching forces, so co-opting it as a motif in visual art feels natural. “Kentucky Graveyard” and “Postage 3 Memorial Day” powerfully comment on the cost of freedom by echoing the flag-draped caskets of deceased military returning from foreign wars, while “More Equal Than Others” speaks to the inequity that has always been a struggle in American society. Loomis may have current events on her mind, but these themes are forever with us.

You can keep up with Loomis through a lively and informative blog on her website. Loomis joined Pyro Gallery in 2016, and is currently a part of the New Year, New Pyro Artists exhibit that runs through February 18, and will be participating in an Artist’s Gallery Talk there on Saturday, January 14, at 12:30pm.

Recent Exhibitions:
·     Indianapolis Museum of Art, Indianapolis, IN, Dialogues, 2016
·     Dairy Barn, Athens, OH, and on tour throughout the US, Quilt National ’15, ’11, ’09, and ’03 (Quilts Japan Prize, 2009)
·     Jasper Arts Center, Jasper, IN, Annual Juried Art Exhibits, 2001, 2004, 2006, 2011, 2015 (award of merit), 2011, Best in Show, 2015).

Hometown: Saginaw, Michigan
Education: BA in Journalism, Syracuse University; MSJ Northwestern University
Website: http://kathleenloomis.com

*"Kentucky Graveyard (Iraq)" by Kathleen Loomis, 71x60in, fiber (2006) NFS*

*"Postage 3: Memorial Day" by Kathleen Loomis, 86x100in, fiber (2008) NFS*

white

Vignette: Kathie Daulton

“The bison struck me as moving mountains, impervious to time and elements.”– Kathie Daulton