Focus on “Whole Fragment” by Cherie Louise Turner

“Whole Fragment,” which was on show at UNR’s Sheppard Gallery from Oct. 15 through Nov. 9, 2007, featured work by a number of artists- Polly Apfelbaum, Chakaia Booker, Nina Bovasso, Jennille Brewster, Arturo Herrera, Fawn Krieger and Losang Samten, who created a sand mandala.  The theme of the exhibition, curated by Marjorie Vecchio, director and curator of the gallery, was inspired by poet Ann Lauderbach’s essay, “As (It) Is: Toward a Poetics of the Whole Fragment.”

Lauderbach’s essay is a challenging read, stretching one’s mind around  this abstract concept of the Whole Fragment, which takes some mental gnawing on in order to fully grasp.  It’s well worth investing the suggested donation of $7 for the show catalogue and taking your time to mull through Lauderbach’s musings.  Resultant understanding is a joy to flip around in the mind.

Of general note, it is indicative of the forward movement of our arts community to encounter such an intelligent, thought-provoking art exhibition here; applause to Vecchio for continuing to contribute to the pushing of the local arts offerings envelope.  The artists represented have achieved notable recognition on the national, as well as international, art scene; they are part of the greater contemporary art world dialogue.

As to Vecchio’s curatorial choices, the pieces work well to illustrate the Whole Fragment concept in numerous variations on the theme.  Works are composed of pieces/fragments brought together to form something larger and at times becoming something different from what they had previously been.  One could easily imagine that each of these works could be reconfigured with its whole fragments to create yet another something, another experience, of equal aesthetic value, endlessly malleable and open to change; endlessly capable of construction and destruction, capable of eternal interpretation and experience.

If one absorbs the Lauderbach essay, these works resonate with meaning beyond the visual experience.  Without such background, however, the strength of the work varies.

Providing a high note is the wall sculpture of Booker.  Created out of rubber tire tread, her work, “Misleading Circumstances, 2005,” all loopy and flailing, transforms this roadside rubble into a well-balanced, elegantly lyrical work of art.  The piece ran along an entire wall of the gallery, spilling into the room and all but devoured the desk.  Though the message is perhaps not groundbreaking- yes, we’re a wasteful society choking on our own waste- being able to render what is literally garbage as large-scale lyrically flowing sculpture is notable.  Beautiful decay.

Other works were nice to look at, but smacked up a little too close to the current trendiness of decorative or cute- specifically that by Bovasso and Apfelbaum- or, in the case of Krieger’s work, quirkly illustrative a la Marcel Dzama.  That all said, however, these are works you’d typically not see outside of larger metropolitan areas; it’s a pleasure to see such works here.  Game on.

Focus on Michael Sarich by Cherie Louise Turner

I will reveal up front that I am, unequivocally, in love with “Like, Love, Lust,” the retrospective exhibition of works by UNR Professor and artist Michael Sarich.  I had debated on reporting about this exhibition for this column because it’s such a gimme. It’s an obvious choice to focus on, being that it’s the big show at the museum and anyone paying attention to the art scene in Northern Nevada already knows about it and has likely already seen it. But I feel it deserves as much attention as possible because it is such a special event.
For those who have yet to see it, please go, again and again. For those who’ve been, go again. I have. In the short time it’s been up, since January 26, I’ve viewed the work three times, and each time I see something new and worth yet another look. I plan to return numerous times until the show closes on March 30.
Before delving into the show itself, I would first like to give accolades to the staff at the museum which has worked for more than a year and a half to bring this exhibition to fruition. The diligent and dedicated hard work has paid off in spades. The presentation of the work is of the highest caliber, as is the 156-page exhibition catalog that accompanies the show. The explanatory wall text provides guidance and insight giving a jumping off place for all viewers.
Retrospectives are unique opportunities to view the entire career of an artist, see how the artist has progressed through his or her career. Here we have the unique chance to view work spanning three decades, cultivated from sources including the artist himself, private collections, and Sarich’s primary dealer, Reno’s Stremmel Gallery. The show begins in the mid-1970s and ends in the present. Also on show is a re-creation of Sarich’s campus office, a creative touch that gives an intimate look into the world this artist surrounds himself with, giving insight into creative inspiration and influence.
This exhibition shows us the wide breadth of the many media in which Sarich has worked and does work, from ceramic to multi-media wood sculpture, painting to installation to drawing. Over the years Sarich has progressed from personal to pop icons— among them Mickey Mouse and the Virgin Mary— in order to open his dialogue to a greater audience. The influence of outsider art and graffiti are evident in the raw nature of much of the work. His output explores the home, the body, religion, and popular culture, leaving open questions for the viewer to contemplate. No concrete solutions are offered. It is up to each and every one of us to bring and form our own thoughts around the imagery. There is much to gnaw on.
Like it, love it, lust after it. This is a show to digest completely. And it is one we should, proudly, thoroughly embrace.

biggest little art show in nevada VI: Juror’s Statement

Nevada Wide Open -2008

Nevada Wide Open was a great opportunity for artists to talk about the many issues that make Nevada interesting and exceptional. Coming from Washington and Idaho I had hoped to see engaging and serious dialog about social issues such as the transient population or the suburb/ casino dichotomy that is unique to Nevada. I was curious to see how the local artists would historically position themselves in a land with such a rich history. For example, I had hoped to see ghost towns juxtaposed with the energy and glitz of the casinos. With the title “Nevada Wide Open,” I was sure someone would have work about prostitution? I was shocked not one artist utilized such a searing issue. The theme was wide open.

As a whole, the majority of the entries were quite literal in their interpretation. While the landscapes of this state are beautiful, vast, and worthy of documentation, these landscapes weren’t any different from what I’ve seen in Idaho and Washington. Landscapes are overused and banal: simply romanticizing and documenting them isn’t enough. They need to be represented in a new and innovative way. Where are the casualties and the ramifications of urban sprawl? How is the desert population being affected?

In the absence of critical themes the ten awards were based on a combination of the artist’s interpretation of the title “Nevada Wide Open” and their use of the miniature scale. A few of the works that I really enjoyed were “Drive” by Gary Coyan, “Open NV” by Candace Nicol, and “Downtown Reno” by John Molezzo.

The sincere vulnerability of the artist who took advantage of the theme and scale by expressing something intimate and quiet is admirable. These types of images seem to entice the viewer and encourage revisiting the work many times. I also loved the innovative artist who used unconventional imagery, mixed media, texture, and color to communicate a narrative.  Moreover, the colors and energy in the image of Reno nightlife are stimulating and intriguing. This exhibit has a great format and beautiful subtleties. Furthermore, it is definitely worth visiting a couple times. I highly recommend, and would like to see more work by, Gary Coyan, Candace Nicol, and John Molezzo.

I ‘d like to extend my appreciation to the entire staff at Sierra Arts for inviting me and allowing me to write about the work within this exhibit. I would also like to acknowledge the long hours the entire staff has put into creating this exhibition opportunity for the artists within Nevada’s art community. It is my understanding that there are many extremely talented artists who, for unknown reasons, did not participate in this year’s juried show. Healthy art communities exist because of the symbiotic relationship between arts organizations, artists, and the patrons of art.

MaLynda Poulsen-Jones