John Grant

Fairy Tales & Reveries

October 2-31, 2009

Remember when Michael Phelps won 6 gold medals and 2 bronze medals in the 2004 Olympic Games? The world was in awe.  Then in 2008, he wins 8 gold medals! Phelps took an absolutely incredible 2004 performance and made it even better.

This is a little how I feel about the photography of John Grant.

I have been a fan of John's work for a number of years. In that time, John has made a big splash in the world of alternative photography with his hyper-detailed scanned images of flowers, fruit and vegetation. But, instead of simply continuing on that very high level, John has pushed his work forward... and the results are even better.

A couple of weeks ago, John gave Laura and me a special tour of his new studio and a preview of his upcoming exhibition at Second Street Gallery – opening October 2. Like I said, I was very familiar with his previous photographs and was ready for more of the same. But, when I saw his new pieces and technique, I was floored. John has taken his work to a new level. He is now creating depths and distances in his rich, layered imagery. Also new is that he is mounting the photos on board and coating them in resin (no layer of glass stands between you and the work – a breakthrough in presentation). The final product is alive and brilliant. Oh... And due to John's perfectionism (some might call it an obsession), the pieces are flawless.

For your own little preview, take a look at the video below. Billy Hunt did a nice job of shooting this one. Also, for more insight, read John’s artist statement under the video block.

If you do anything this Friday evening, I would recommend attending the opening of "Fairy Tales & Reveries" at Second Street Gallery. I’ll be there.

John Grant: Fairy Tales and Reveriesfrom Billy Hunton Vimeo.

Artist's Statement:

In my photographic work I seek to distill and dramatize natural elements, transforming them into symbolic metaphor. I embrace the often clichéd or sentimental botanical portrayal, presenting objects in ways that infuse them with an enigmatic quality that expands expectations and tweaks the imagination.

Most recently, I have added layers of landscape content—sourced from my photographs or found tintypes - as vintage atmospheric backdrops. This interplay between foreground and background introduces a context to the still life images, offering new opportunities for narrative engagement.

[Image above: Rouge et Noir by John Grant]

I give thanks to my good friend and artist Michael Fitts for hooking me up with this video.

The folks at Creature Comforts have an incredible knack for expressing man-on-the-street opinions regarding challenging subjects. Here they tackle the question of "what is art?" The talking animals cover it all from Picasso to Van Gogh to Impressionism to Pop Art to Bob Ross to Zoo animal art to Performance Art to Dogs Playing Poker. Hilarious yet spot on.

And let's not forget the beautiful art of claymation. Fabulous.

I had the pleasure of attending a reading and book signing (and open discussion) by author Amy Whitaker at New Dominion Bookshop. Amy has written her first book Museum Legs. Museum Legs - taken from a term for art fatigue - starts with a question: Why do people get bored and tired in art museums and why does that matter? As Whitaker writes in this humorous and incisive collection of essays, museums matter for reasons that have less to do with art as we know it and more to do with business, politics, and the age-old question of how to live.

From the bits I have read, it approaches the proposed question with a practical perspective and offers "real world" anecdotes and solutions. No high-brow lectures in this one. The art world can often be a magnet attracting all the crazies out there. It’s nice to see someone be able to laugh a little at some of the ridiculousness that happens in museums.

Here is a sample from the book:

Museum Legs, Amy Whitaker [Sample]

Who can tell me what collection of art the University of Virginia Art Museum is best known for?  What area of art highlights their collections?  You know... The Williams College Museum of Art is best known for it collection of modern American art (Hopper, Homer, Prendergast, Warhol); The Block Museum of Art at Northwestern University is dedicated to reproducible art forms such as prints and photography; The Blanton Museum of Art at the University of Texas at Austin has one of the top collections of modern and contemporary Latin American and American art; University of California, Berkley's Art Museum and Pacific Film Archive is the premier home for multimedia art such as cinema and film; The Michael C. Carlos Museum at Emory University has its crowd pleasing mummies; Harvard's Fogg Museum has more than its fair share of Impressionist masterpieces (Degas, Degas, Degas); and The Rose Art Museum at Brandeis University houses a premier collection of modern and contemporary art (de Kooning, Johns, Warhol, Lichtenstein, Oldenburg).  But what does UVa have that can be considered its signature collection?  And no one can answer "Thomas Jefferson."

Did anyone say Aboriginal Art?  I doubt it.  In fact, I bet very few people know UVa's  Kluge-Ruhe Aboriginal Art Collection is one of the largest and highest quality collections of Australian Aboriginal art in the world outside of Australia.  This, of course, might be because the collection is housed in a building approximately 5 miles from the UVa campus.

Well, maybe things will change...  Over the summer, the University of Virginia Art Museum closed its doors and spent the quiet summer months and about $2.5 million on renovating its building.  The Museum reopened to the public this past weekend.  As a past critic of the state of the Museum, I was excited to see firsthand what $2.5 million bought.

For starters, all the noticeable renovations are in the inside of the building.  The red brick and white columns are the same (don't expect a new, swishy, glass and steel structure).  Also, much of the money went into updating the climate control systems and lighting (not very sexy, but critical in the care of the art).  Knowing this beforehand, I can't say I expected a huge change, but I had my fingers crossed something would excite me when I opened the front door.

First and foremost, the entrance lobby/gallery has improved greatly.  Instead of the former awkwardly boxed-in area which was dark and uncomfortable, walls were removed and the space opened up – much more flexible for the exhibition of art.  With the bigger space, four large aboriginal pieces from the Kluge-Ruhe collection were featured in the lobby.  Finally, we have a clue to what the real focus of the Museum's collections is (writer's note:  I would change the organization of the hanging and make it more cohesive).  Good to see that placed in the forefront.  This is what can put the UVa Museum on the map.

But... Beyond the removal of walls and "modernization" of the lobby, I couldn't see too much had changed in the other galleries:  Some of art has been moved around, and the fresh paint spruced things up (long overdue); The collective climate control helps by allowing for the removal of some awkward glass doors – another big help; And, I'm certain the storage and care for the collections is greatly improved (albeit out of public view).  So, in my eyes, not much has been done to truly enhance the visitor's experience.  I'm not sure the casual visitor will notice the kind of difference that will make them want to keep coming back.  The kind of experience the public now expects from a museum visit.

Hopefully, time will prove me wrong.  With the improved climate control and more flexible exhibition space, maybe bigger and better exhibits will be coming to Charlottesville.  I'll hold my breath.

Regarding the broader picture, could this be a sign of an increased commitment to the Museum by the University?  Will the casual visitor to the Museum ever be able to say, "What a great space and collection of Aboriginal art."?  Maybe another $2.5 million pumped into the Museum will actually bring the building out of the Jeffersonian era and into the 21st century.

[Image: detail from Limpi Putungka Tjapangati, Untitled, 1980]

The Piedmont Council of the Artssupports access to and awareness of the arts as an essential part of life in the Charlottesville area.  It is a membership based organization open to the general public and specifically to area artists.  PCA has begun a series of interviews to highlight certain of their individual artist members.  This month we get a q&a with photographer/printmaker Stacey Evans.

Personally, I like this for two reasons: 1) I think it is always good to get a little insight to artists’ backgrounds and motivations straight from the artist; and 2) Stacey is a dear friend who I think the world of.  Her story is engaging, and watching her share it through her art makes me feel very lucky.

Here is the interview (or read it directly from the PCA site here): 

Where are you from? I was born in Waynesboro, Virginia, my family moved there in the 70s. I grew up in Fishersville on a piece of property with a 180 degree view of the Blue Ridge Mountains and sky. I had a great view through my bedroom window of the seasons changing, the sun rising, the moon, cows and an occasional plane. I lived at the end of a small airport.

 

What brought you to (or back to, or kept you from leaving) Charlottesville?  I spent a few years in Georgia attending art school then working for a newspaper—the heat was too much. I returned to the area with the intention of only staying a summer. Next thing you know I was renting a house with an old friend. Friends, family, and love keep me in the area.

What are your favorite things to do around Charlottesville?  This is an interesting question; I’ve lived in Charlottesville for 14 years and my favorite things continue to change. One constant has been walking along the Rivanna River; I like the sound of flowing water, I’m especially glad the dam was removed. I enjoy teaching and taking courses through various continuing education programs. I like to go the Virginia Arts for the BookCenter and make prints. Another favorite is to hop on the train and leave town.

 

What inspires your creativity? Observation seems to inspire my creativity. Sounds, smells, insects, signs, clouds, humans, anything can send me into a zone and thoughts start processing. I have many ideas but have had to learn which ones to pursue. My current photographic project is Train-Scapes, landscapes from the Amtrak. I started photographing from moving vehicles in 2000 when I first purchased a digital camera. The train has been a natural progression— it catches everything that interests me; bits and pieces of our world passing by. A few prints are on display at the Transit Center downtown.

 

What do you love most about what you do? Tricky question, today I made a beautiful print so I love printing. Tomorrow the printer might act up and I’ll hate printing. I love to see new things. I love to be in motion if not physically then mentally. I love when the light is right the color is perfect and I am transcended to a new place. I love when it is a grey imperfect day and I capture that misty feeling. I love the combination of digital technology and printmaking. I try to love the emotional roller coaster of life. One day you can be on top of the world because you just had a great sale, the next you question every choice you’ve made.

 

What are your favorite ways to stay connected with the arts community in Charlottesville?  My favorite way is direct contact with artists. I collaborate, have critiques groups, and photograph for artists. The easiest way to stay connected is newsletter subscriptions and blogs, the PCA, VFH, and Hook blog are a few. I am a member of Second Street Gallery, the UVA Art Museum and the VABC. If I’m in town I attend first Fridays and PCA second Wednesday drinks.

 

Stacey is currently exhibiting her “Trainscapes” in Charlottesville's Downtown Transit Center – very appropriate.  For more information take a look at her website.

I subscribe to and read (more or less) a number of the "art" magazines – Art in America, ArtNews, Art & Antiques, Art Papers, Artforum, etc. It's always a thrill to see an artist you know personally (or their work) in those pages. I would consider it a career highlight for any contemporary artist. But I've always thought, as a visual artist, a bigger thrill would be to have your work in a non-art-centric magazine. Imagine your painting prominently displayed (with proper credits) on the wall of a building featured in Architectural Digest. That would be a real coup. Or maybe in Dwell. Or how about a feature in something like Conde Nast, Rolling Stone, or Cosmopolitan?

With that in mind, you can understand my excitement when I was leafing through the newest New Yorker and saw, at page 33, a huge image of one of Amy Stein's photographs from her hugely acclaimed "Domesticated" series. Over the last couple of years, Laura has had some fantastic conversations with Amy. She has always been very open and honest with us. We have wanted to showcase her art here in Charlottesville, but, alas, she's just too big for that – in a good way. Her artistic success has many, many people calling for her and her work. Appearing in The New Yorker (a paid circulation of over 1 million copies) simply proves it.

Congratulations to Amy – she has hit the cross-over market and continues to wow an even bigger audience.

Having good friends – who are talented artists – has some special rewards. Last weekend, Laura and I were invited by Rob Tarbell (and his wife Anna von Gehr) for dinner and a preview of his newest work which will be exhibited at Gallery Imperato. The show, "Smoke Rings" opens September 18, and runs through October 31. FYI: Gallery Imperato is in Baltimore.

Dinner, of course, was delicious and the conversation rousing; but, I can safely say, seeing Rob's new work was the highlight of the evening. Even better, he gave us a full explanation of his techniques and a little demo in his studio.

For those new to Rob's most recent body of work, his "Smokes", read his artist statement for an excellent introduction:

In my practice, making art is as much directing intent as it is about scientific tinkering. All of my diverse work is linked by the transformation and manipulation of traditional materials and the exploration of non-traditional ones. The loss of an original and the use of elaborate processes are inherent to the creation of each series. The work intends to both balance accident with control and give permanence to the ephemeral.

Smokes consist of images that are created by capturing smoke on paper as evidence of a transformation and preservation of the ephemeral. During the process, credit cards, grocery cards, gift cards, photos, and slides of my artwork are burned to remove their growing presence in daily life, an ironic nod to a self-help technique of burning sentimental things to remove their emotional burden.

The performing animal images in the Smokes parallel the drawing process. The trainer must recognize and respect the innate nature of an animal when trying to modify its behavior to achieve a desired outcome: e.g. training a bear to dance or training a horse to walk upright. The same is true in working with smoke. The inherent properties of smoke must be respected, then permitted to - and yet discouraged from - acting naturally.

There are other artists who dabble in "drawing" with smoke, but none do it like Rob. Rob’s work is precise, narrative and beautiful. Others are simply resigned to leaving the resulting image up to chance and dumb luck. It’s the thoughtfulness, skill and artistry that separate Rob’s work from others.

Laura and I give thanks to Rob and Anna for the preview (and dinner), and giving me the opportunity to encourage everyone to see the show and buy Rob's work.

[Images include – Top: Flying Alinga Flaming Ring, 60"x44"; Middle: Elephant Trick (1 Big Ball), 30"x22"; Bottom: Flying Alinga Jump, 44"x30"]

This Friday, September 11, the Ackland Art Museum - on the campus of the Univesrity of North Carolina at Chapel Hill - is hosting a talk by photographer (and Migration favorite) Alan Dehmer as part of its Out of the Studio program - the Ackland's ongoing intiative to make connections between the musuem and the rich tradition of talented artists from the Chapel Hill community.

Alan will talk about his gum bichromate photographic printing process - a process developed in the 19th century.  Leave your digital cameras and computers at home for this one.

This special programing is also part of the Ackland's successful Art After Dark extended hours.  Alan will speak from 6:00 and 7:00 pm.  The museum will be open until 9:00 pm.  And there will be a cash bar, light refreshments and a DJ to spice up the evening.

[Image above: Low Country by Alan Dehmer]

I will apologize (but only a little bit) for posting another video of Arturo Mallmann. But having Arturo sit down and talk about his work is fascinating and a must-see for both collectors and artists alike.

For the years we have represented Arturo's work, very little has needed to be said. His work always speaks strongly to each individual viewer. And for the many, many people who own one of Arturo's paintings and live with it in their home, they are able to enjoy this conversation every day. I know I do with ours.

Arturo is an artist's artist. He prefers to speak through his visual creations rather than his words. He is more comfortable painting than he is at talking. But, after many years, he now speaks; and we get an introspective glimpse of what drives him to create the beautiful and meaningful paintings he does.

In this video, we learn more about Arturo's background – how he has gone from hitchhiking from Buenos Aires to Alaska and back, to being a house painter in LA, to becoming an internationally acclaimed (yet extremely humble) artist.

When studying art history throughout college, I had a mental image of what the life of an artist would be like. Arturo is that perfect image.