"Echo" by Teri Dryden, 40x40in, acrylic on canvas, $2400 | BUY NOW — *"Echo" by Teri Dryden, 40x40in, acrylic on canvas, $2400 | BUY NOW*

A line disintegrates into a smudge, which then blends into a new color, while an opposing stroke swipes across the canvas with ferocity. Teri Dryden works from such an intuitive, emotional creative spark that her paintings can only be seen as Abstract Expressionism, but, as with many such artists, the phrase seems limiting and only useful for academic discussion. The Museum Of Modern Art describes it this way: “The varied work produced by the Abstract Expressionists resists definition as a cohesive style; instead, these artists shared an interest in using abstraction to convey strong emotional or expressive content.”

That explanation certainly would seek to capture Dryden’s own action painting, with vigorous marks and color choices that invite the viewer to read a confluence of emotions applied to the canvas with a modicum of intellectual framework. “Echo” feels sunny and optimistic, full of hope, while “Twist and Shout” explores anxious energy in restricted release.

"Dive In" by Teri Dryden, 36x48in, acrylic on canvas, $2500 | BUY NOW — *"Dive In" by Teri Dryden, 36x48in, acrylic on canvas, $2500 | BUY NOW*

"Arden" by Teri Dryden, 40x40in, acrylic on canvas, $2400 | BUY NOW — *"Arden" by Teri Dryden, 40x40in, acrylic on canvas, $2400 | BUY NOW*

“My artwork is process oriented. I begin each picture with a line. I have no specific outcome in mind. I respond to the changes in the painting as I explore and interact with materials by layering paint and paper, scratching, sanding and marking, creating open spaces, altering and adjusting. I move between intuition and logic, chaos and order. Being aware and open, taking risks with the materials, as well as the struggle itself allows me to have a more meaningful painting experience and often leads to a greater self-awareness. My goal is to create work that is authentic and genuine.”

Dryden is currently part of a group show called "Mix it Up", New Work by Gallery Artists at New Editions Gallery in Lexington, now through October 2016.

Hometown: Annapolis, MD
Age: 58
Education: Towson University
Website: http://www.teridryden.com
Gallery Representative: View Gallery (Jackson, MS); New Editions, (Lexington, KY); B. Deemer (Louisville, KY)

"Sunday Afternoon Promenade" by Teri Dryden, 24x30in, acrylic on canvas, $1400 | BUY NOW — *"Sunday Afternoon Promenade" by Teri Dryden, 24x30in, acrylic on canvas, $1400 | BUY NOW*

"Twist And Shout" by Teri Dryden, 40x40in, acrylic on canvas, $2400 | BUY NOW — *"Twist And Shout" by Teri Dryden, 40x40in, acrylic on canvas, $2400 | BUY NOW*

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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.*

Painting, Mixed Media, Installation, Public Art, Ceramics

Feature: LVA Studios

Josh Jenkins · October 11, 2016

“It's an exciting time for Portland! It is where the artists are now.” – Lynn Dunbar

Artists place a high value on space, particularly the space in which they work. It can define them and their work more than even they themselves sometimes realize. When Louisville Visual Art (LVA) moved into its new home in the Portland neighborhood, the 32,000 square foot warehouse was a raw shell except for a cozy 1000 sq. ft. office space. That office remains the only part of the building with heat and air conditioning, and the seasonal extremes in temperature make occupying the vast open space a challenge. A complete renovation of the building that will include studio space for artists is being planned, but for now, LVA staff didn’t anticipate very much use of the facility when they moved in at the beginning of September 2015.

But a tour of the building for a small group of local artists a month later demonstrated that some artists were ready to move in immediately, with or without amenities. The “rawer” the better seemed to be the attitude, “It doesn’t intrude,“ explains sculptor, curator, and LVA board member Andrew Cozzens, “and it provides the space needed to build and experiment without limitations.” With elbowroom to spare, the first three tenants, painters Joshua Jenkins and Clare Hirn, and ceramicist Amy Chase, moved in before the end of 2015.

*An installation by Andrew Cozzens (2016)*

This hardy trio worked through the cold winter months with space heaters. For Jenkins, who has previously worked in smaller spaces that offered isolation, the difference has impacted the work itself. “Raw space to me is like a blank canvas,” he says. “It has unlimited possibilities and room to breath. I have found that just from painting in a raw/large space such as LVA’s, that my work has naturally evolved and that my compositions have grown to have more white space in them.” Since the first humid, dog days of summer the number of tenants has more than doubled, with seven others moving into the 2nd floor space: besides Cozzens, they are painter Ashley Brossart, installation artist Vinhay Keo, muralist Alyx Mclain, painter Casey McKinney, sculptor and installation artist Kyle Sherrard, and painter Lynn Dunbar. Other artists that have used the building on a temporary basis for murals and other projects on a scale that their normal workspace could not contain have included Shohei Katayama, Carrie Neumayer, Annette Cable, Noah Church, McKenna Graham, Ewa Perz, and Mary Dennis Kannepell.

The increased number of working artists is welcomed by Clare Hirn, who was the first to move in: “After working in a fairly isolated situation this is a nice change to be in a space with other artists. There are challenges of giving up the complete privacy of one's own space, but the potential for collaboration in spirit, if not in actual work, is a huge payoff. It is inspiring to be around other artists of such variety and as a slightly older artist (at 52!) it is a bonus to be around younger people as well.”

"Share the Summer" (Painted at the at the Botanica Paint Out) by Clare Hirn, mixed media, $350 | BUY NOW — *"Share the Summer" (Painted at the at the Botanica Paint Out) by Clare Hirn, mixed media, $350 | BUY NOW*

Not surprisingly, some of the occupants have taken a hand in improving the space themselves, with Cozzens and Sherrard building and installing temporary partitions, and Dunbar replacing broken glass panes, building a shared space that is still open and accessible. Cozzens admits, “I always prefer to work communally- it brings good energy.”

*Artist Joshua Jenkins working in studio. Photo by Sarah Katherine Davis For LVA (2016)*

That the building is located in the Portland neighborhood also seems to hold an appeal, as Jenkins explains: “I have always been attracted to urban environments and inner cities. There's just inspiration to me in every direction that I look, along with the ghost of so much history. When I first heard of artists moving into the Portland area for studio spaces I was extremely excited and jumped on board as soon as I could.” The history of the area, which was once one of the most important freight stops on the Ohio River and the economic center of Louisville until the early 1800’s, is rich but largely ignored or taken for granted by the city as a whole, if not necessarily by the artists who are working there. “There is a fresh vibe in Portland,” observes Cozzens“…a lot of stored energy.”

Indeed, with a warren of more developed studio spaces in the connected building, Tim Faulkner Gallery across the street, and the forthcoming Hite Art Institute’s MFA studios scheduled to open 2 blocks away, things seem to be happening – positive and creative things that feed into the larger Portland revitalization plan spearheaded by Gill Holland. Part of the realization of such plans is certainly deep-pocket investors, but equally important are the series of choices made by individuals to live and work in such neighborhoods. These artists have made that choice.

*"Untitled" by Ashley Brossart, 5x5ft, aerosal, acrylic, ink, paper photo (2016), NFS (commissioned)*

"Withstanding Fiction" by Amy Chase, 5x9x5in, ceramic, flocking (2016), $410 | BUY NOW — *"Withstanding Fiction" by Amy Chase, 5x9x5in, ceramic, flocking (2016), $410 | BUY NOW*

*"Boy Blue" by Joshua Jenkins, 40x30x1in, acrylic and mixed media on canvas (2016)*

"Belle in the Lead" by Lynn Dunbar, 24x36in, oil on canvas — *"Belle in the Lead" by Lynn Dunbar, 24x36in, oil on canvas*

"Watchful Eye" by Casey McKinney, 45x56in, acrylic and mixed media (2016), $900 | BUY NOW — *"Watchful Eye" by Casey McKinney, 45x56in, acrylic and mixed media (2016), $900 |* *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.

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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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Painting, Mixed Media

Curatorial Q&A: 9 Questions for Peter Bodnar III

Josh Jenkins · October 5, 2016

"Indehiscent form #2" by Peter Bodnar, 19x46x4in, acrylic on steel (2016), $1200 | BUY NOW — *"Indehiscent form #2" by Peter Bodnar, 19x46x4in, acrylic on steel (2016), $1200 | BUY NOW*

Having known Peter Bodnar for a LONG time, in fact since my days in New Harmony, which date back forty years, I am always excited to see what he is up to, so the prospect of a show of new work at Swanson Contemporary (opening Oct. 7) is indeed something to look forward to.

I value Peter for lots of reasons, his thoughtfulness, his integrity, and ability to question authority, his persistence and dedication, his humor, both good and funky, and his ironic stance in the face of a non-caring universe. All these character traits show up in his art, which to my mind is the principal duty of being an artist: putting in, giving form to the world an authentic and personal vision.

These questions are all things, that while I had made assumptions about, I had never really asked Peter directly, so this was a chance to learn from him in a new way. — John Begley

When starting on a piece of work of art, what's the process?

PDBIII - An idea becomes a drawing, which begets more drawings until a path toward final execution is clear. Small models make form concrete and guide the larger work. Paul Klee showed me that one could invent a living world with a pencil and paper.

JPB – I am delighted to see the Paul Klee reference, have always liked his “taking a line on a walk” statement.

Since you work abstractly, how do you know when you are finished with a specific piece of art?

PDBIII - I’m not sure that the moment a work is “finished” is any different for abstract or representational work, having done both. It generally is the point at which something cannot be added without losing something else. I live with my pieces for a long time. They are released into the world when they possess fewer things that bother me than excite me. That said, the desire to make new work comes from a feeling that I never quite get it completely right.

JPB – I should have realized that you do work in a multitude of manners and not asked the question so narrowly. I find your explanation of not being able to add something without losing something to be very revelatory, and right. And the motivation to do new work because there was always a choice that you could have made, and did not, and therefore are not sure that you indeed get it right to be compelling.

“Liquid Structures Suite” by Peter Bodnar, 15x67in, acrylic on paper (2013), $950 | BUY NOW — *“Liquid Structures Suite” by Peter Bodnar, 15x67in, acrylic on paper (2013), $950 | BUY NOW*

Since you have long tenure in the Louisville art community, how are you feeling about local art scene in Louisville? What's good? What's not so?

PDBIII - Things change, some for the better, some not. I am especially grateful for the support & leadership you, John, have given this community over many years. With experience comes the long view. I am still dismayed at the lack of institutional support for regional artists. From an ART BASEL perspective, we’re all folk artists.

JPB – Thank you for the compliment, and I do agree that the art history of our community is neglected and deserves the same thoughtful analysis that work in other places receives.

“Cusp #5” by Peter Bodnar, 24x28in, acrylic on steel (2016), $1200 | BUY NOW — *“Cusp #5” by Peter Bodnar, 24x28in, acrylic on steel (2016), $1200 | BUY NOW*

You have exhibited with Chuck Swanson for several years, what are your thoughts on the artist/ dealer relationship? What makes it work?

PDBIII - I am lucky to have had Chuck’s friendship over these years. I have been able to show bodies of work in an un-curated context. The classic artist/ gallerist model is a rare bird these days, and Louisville is fortunate to still have a few long standing examples. Sales and promotion have few rewards in hinterland markets.

JPB – I think “un-curated” may be a bit misleading. Chuck’s ultimate curatorial choice is to choose the artist and then trust the artist to bring a cogent body of work to the exhibition space.

What advice would you give a young artist? Any regrets for paths not taken?

PDBIII - Beware of fashion and seriousness. Develop as many skill sets as possible. You will need and enjoy them. Knowing what I know now, I might have chosen another profession.

JPB – I find I am susceptible to the “seriousness” problem, and I think that is why I always find the“dada-fluxus” response so freeing. I have always loved your “eclectic” cooperative as absolutely fun, anti-seriousness in its most honest form.

What role do you think is important for an artist to play in a community? What is the artist's job?

PDBIII - I feel my job, as a citizen of this community, is to strive for equality and justice for all its members and to protect the environment of this place. That is my social practice. As an artist, I work to make the community a place that can support creative individuals. When I was starting out, I felt my challenge lay outside NYC, to forge a new art / community dynamic in flyover America. As an educator, I know I have made a difference in specific cases, but in general, after forty years, I fail to see much effect on the community as a whole.

“Oscillating behavior series 02” by Peter Bodnar, 22x28in (framed), mixed media on paper (2014), $400 | BUY NOW — *“Oscillating behavior series 02” by Peter Bodnar, 22x28in (framed), mixed media on paper (2014), $400 | BUY NOW*

JPB – I think many of us feel this frustration at the slowness of change, at the same time I remain hopeful that if we keep doing it, we might get it right at some point. I think you must feel the same way.

You have worked with ideas from science and mathematics for long periods in the past, what is exciting you now?

PDBIII - Same inspirations— just deeper, less literal— in my view. I want to see how an idea looks in the flesh, so I have to make it. I strive to make animate objects, so my metaphors are animal, vegetable & molecular.

JPB – Ideas incarnate, sounds almost religious.

You have used a variety of materials and media, as well as engaged in performance work, collaborations and installations, what is the cause of your restlessness? (I don't want to imply that question as a pejorative.)

PDBIII - I don’t / didn’t want to miss anything, so that when opportunities arose, I took the bait. Different audiences respond to different stimuli, and the question of whom you’re making your work for is an important one. I find I need a better “effort-to-return” ratio to prompt me in my golden years. Large installations with a clear narrative receive a predominance of media coverage, but are usually costly affairs that turn an artist into a fundraiser.

JPB – If we do this kind of thing again, I want to explore this idea of the artist as fundraiser. You have provoked me again in a most positive way.

“Above / Below (in blue)” by Peter Bodnar, intaglio w/ pigment (2016), $300 | BUY NOW — *“Above / Below (in blue)” by Peter Bodnar, intaglio w/ pigment (2016), $300 | BUY NOW*

Your father has had a successful career as an artist/teacher, how has that shaped your approach to making a life as an artist?

PDBIII -. My father has been a great influence on everything I do. I purposely ran in different directions as a youth in order to define my own self, but am constantly aware of how much I’ve circled back to the groove. His work ethic approach to art making—perspiration not inspiration-—kept me going from the start. I was fortunate to catch a career as artist –teacher before that model became difficult to maintain, and was able to develop my expertise in ways that were never available to him. He’s 87 and still painting and I am proud to be carrying on a family tradition.

JPB – Peter, thank you for your willingness to share these thoughts, as well as your work. I look forward to the new show at Swanson with much anticipation.

Peter Bodnar’s Neo Phenomena
Swanson Contemporary, October 7 - November 12, 2016
Opening Reception 5-8pm, October 7

“Vibe Series 01” by Peter Bodnar, 14.5x16x5in, intaglio on paper w/ HC (2015), $300 | BUY NOW — *“Vibe Series 01” by Peter Bodnar, 14.5x16x5in, intaglio on paper w/ HC (2015), $300 | BUY NOW*

*“Whirl Study” by Peter Bodnar, 14x14in, burnt cedar on paper (2015), $200*

This Curatorial Q&A was written by John Begley.
John Begley is a Printmaker, Installation and Video Artist. From 1975 to 2014 he was a Curator and Gallery Director, including 19 years as Executive Director of LVA and several years with the UofL’s Hite Art Institute, where he is now Coordinator of IHQ Project.

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Painting

Vignette: Joyce Garner

Josh Jenkins · October 3, 2016

*"Cellist" by Joyce Garner, 6x18ft, oil on canvas (2014), $22,000 | BUY NOW*

*Garner in her studio with a blank canvas.*

Joyce Garner is a self-taught painter and native Kentuckian who paints large. Her Big Paintings come from her ongoing series of “table paintings”, wall-sized compositions, “…telling the complications of family through time,” says Garner. “They are filled with hopes, regrets and wishes—from the past, and for the future.”

The artist likens these paintings to novels, the visual equivalent of long-form literary narratives comprised of many smaller stories. Patience is rewarded with this work - allowing your mind to slowly explore the people and the interactions. You might imagine you can hear the words being spoken, some of them in the heat of anger, some barely discernible whispers that you must strain to comprehend. These are, after all, whether by blood or association, families, and families are where we find the deepest currents of human emotion.

“My biggest paintings, shown un-stretched, began with frustration from working with smaller canvases. I got tired of banging around all the panels. Canvas comes in a roll or bolt. Different widths are available but a standard length is 6 yards. So I decided to paint the bolt.”

*"Chopsticks" by Joyce Garner, 60x48in, oil on canvas (2016), NFS*

Garner also owns a gallery in Louisville, Kentucky in the NuLu neighborhood: garner narrative contemporary fine art, and is also represented by galleries in Georgia, Ohio, and Tennessee. Her works have been exhibited in various galleries across the country and internationally. In June of 2016 her 29 foot-long mural, "catch a falling star," was installed in the UK Chandler Medical Center in Lexington, Kentucky.

Hometown: Louisville, Kentucky
Education: University of Kentucky, B.S., 1968
Website: tablepaintings.com
Gallery Representation: garner narrative contemporary (Louisville)

*"Joyce Garner in her studio" Photo by Sarah Katherine Davis For LVA (2016)*

"Power Outage" by Joyce Garner, 48x60in, oil on canvas (2016), $4500 | BUY NOW — *"Power Outage" by Joyce Garner, 48x60in, oil on canvas* *(2016), $4500 | BUY NOW*

"Rickrack" by Joyce Garner, 48x60in, oil on canvas (2016), $4500 | BUY NOW — *"Rickrack" by Joyce Garner, 48x60in, oil on canvas* *(2016), $4500 | BUY NOW*

"Testing The Waters" by Joyce Garner, 48x60in, oil on canvas (2016), $4500 | BUY NOW — *"Testing The Waters" by Joyce Garner, 48x60in, oil on canvas* *(2016), $4500 | BUY NOW*

"Wallpaper" by Joyce Garner, 48x60in, oil on canvas (2016), $4500 | BUY NOW — *"Wallpaper" by Joyce Garner, 48x60in, oil on canvas* *(2016), $4500 | BUY NOW*

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Painting

Vignette: Teri Dryden

Feature: LVA Studios

“It's an exciting time for Portland! It is where the artists are now.” – Lynn Dunbar

Vignette: Patrick Donley

Curatorial Q&A: 9 Questions for Peter Bodnar III

When starting on a piece of work of art, what's the process?

Since you work abstractly, how do you know when you are finished with a specific piece of art?

Since you have long tenure in the Louisville art community, how are you feeling about local art scene in Louisville? What's good? What's not so?

You have exhibited with Chuck Swanson for several years, what are your thoughts on the artist/ dealer relationship? What makes it work?

What advice would you give a young artist? Any regrets for paths not taken?

What role do you think is important for an artist to play in a community? What is the artist's job?

You have worked with ideas from science and mathematics for long periods in the past, what is exciting you now?

You have used a variety of materials and media, as well as engaged in performance work, collaborations and installations, what is the cause of your restlessness? (I don't want to imply that question as a pejorative.)

Your father has had a successful career as an artist/teacher, how has that shaped your approach to making a life as an artist?

Vignette: Joyce Garner