VOL 05 ISSUE
6 
May 5, 2006
BACK ISSUES | ° | ¤ | CURRENT ISSUE
VOL 05 ISSUE
6 BACK ISSUES | ° | ¤ | CURRENT ISSUE |
| THE KENAI EXPERIENCE:SEVENTH ANNUAL INVITATIONAL OPENING | ||||
 KENAI VISITOR AND CULTURAL CENTER
is one of the few community buildings readily identifiable as such when driving through
the commercial sprawl that lines the Spur Road, and the community was there promptly at
the opening of the seventh annual summer art show late last month. The state's
Lieutenant Governor, the local Mayor, a gubernatorial candidate, and numerous other
worthies including an impressive list of sponsors all gathered for their first view of the
work of more than 70 of Alaska's top artists. The Kenai experience
for Wanda Seamster, whose Car Picnic with Mount Illiamna is being admired at the
center of the photo to the right, included a franchised cheeseburger and fries laid out on
the canvas as part of a snowy landscape. Jay Barrett combined boating and digital effects
in his Ghost of Fisheries Past, below that.. |
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LAST GREAT COLONY:THOR
EVENSON The number 100 in two corners with acanthus leaf motif
give a clue to the underlying theme of the painting Last Great Colony, shown at
left with the artist Thor Evenson. A complex organizational scheme allowed Evenson
to integrate his extensive research into a number of familiar and telling vignettes.
Multiple horizon lines and depictions of different historical perspectives tell the story
of the Denaina, the Russians, the fishing community and more. In the upper right of the
painting an orange map of the state of Alaska can be seen, with the division of land
ownership between Federal, State, Native, and private is charted. Evenson mused about
similarities in technique between his work and that of Duke Russell, hanging nearby (not
shown). "Starting with a medium ground, working up to the highlights and down to
the darks." The medium of acrylic on canvas is drawn over with a laundry marker
rather than a brush, giving an easy facility to a proliferation of details. Evenson's father, Jim Evenson, keeps a beautiful home, studio, and gallery on Bishop Lake that is still an original homestead parcel. Resplendent in crisp evening wear, he presided over his curation with elan. The Visitors Center has a natural history museum with a complete roster of mammalian and piscine mounts which remain in place while the artwork is featured throughout the summer. Guests at the opening reception rarely looked up from the freshly shucked oysters on ice being served in the conference room. If they had, they would have seen a row of framed stone lithographs by the senior Evenson that is part of the collection of the KVCC augmented by the Rasmuson Foundation's Museum Acquisitions Initiative. |
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ORTHODOX:TUSSEY CAMPROBBER
All styles and skill levels in artmaking seemed to be represented, and
the Kenai Russian Orthodox Church, the notebook sized acrylic by Homer painter Ed
Tussey shown at left, exemplified the representative. Tussey's work was included in
the KVCC's Wildlife Painting invitational two years ago in the company of some fine
colleagues and an original by an artist of his duck-stamp caliber is a bargain at the
meager $750 being asked for this little gem. Tussey's chops allow him to just go ahead and
make the jay's back feathers iridescent in the overcast light of what is essentially a
house painting with onion domes, although the view seems to be of the rear of the
building. Tussey relies on sales of reproductions of his work in what are described as
limited editions at his website.
The crowd didn't seem to be in a buying mood, although or perhaps because it was made up of sponsors who had already contributed cash or in kind to the success of the event. Special props to the Premier Alaska Tours corporation who provided transportation from Anchorage to Kenai and back to participating artists and their guests, as they have over past years. Hal Gage's framing extravaganza Memento found a buyer at $600, as did another black and white photograph by Chris Arend, Stanley Huhndorf, Sr not shown.. Gage describes his shore photo, which was incised and opened up like a popup greeting card and matted with a pebble from the beach, as being 'mixed media'. Framing seems to be the critical mass of the photographically based, digitally printed work. Greg Daniels' digital image Russian River Falls, not shown, was offered in its frame for $570, and for $130 as a print. Collectors could be forgiven for wondering which is the better investment when the support is valued at more than three times the 'print' cost. Daniels' case is offered as an instance of a general trend in this category. |
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FIREWEED WRIGHT:KAISER
GLASS For those collectors who are considering investment value,
ArtSceneAK editor Donald R Ricker's Source of
the Kenai , a fraction of which can be seen in the background of the photo at
left, was offered at not much under $14,000. Roughly 33"x88", the near
orbit landscape showed the peninsula of Kenai from the northeast, with strands of auroral
activitiy reaching into space. Jim Kaiser's glass hanging Kenai
Fireweed the Wright Way, shown at left, was one of a series of works with ornate
leading and beveled glass that Kaiser has been working on in his studio in Girdwood, and
was offered at uner $2000. Kaiser has been involved since early days in the
Municipality of Anchorage's 1% for Art in Public Places program and continues to be
awarded governmental commissions today. He mentioned that he would be collaborating
on parts of the Paula Dickey proposal selected for the Kenai Peninsula Youth Facility last
month. Some of the formality and aura of big spending brought to the table by the tuxedoed Jim Evenson was dissipated by the football jerseys of the young men who volunteered to carry trays of refreshments. The unreasonably low plinths used to present several works diminish the appreciation of artworks such as the Tidal Wonder by Lowell Zercher, not shown and worth looking for in person. Other pieces were shown more appropriately at chest height under clear plexiglass cubes, such as Sven Haakonson Jr's Kutting Edge of Culture, a detail of which is the index image for this issue. With a total value of nearly $88,000 worth of art presented for sale as a means to fundraise during an annual gala, the absence of active sales people working the crowd could be a costly omission in planning. |
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TIGER SWALLOWTAIL:NEIBRUGGE
ACRYLIC Prospective collectors were taking digital photographs of their
favorites, possibly to help their decision making for a later time. One fellow had
his cap set for what he described as 'the box of rocks', Don Decker's mixed media
sculptural relief Frozen Finds (cf issue #417). At $2000, it would have been
worth whatever investment was necessary to close the deal. Similarly, it would
have benefited anyone who was asked to consider owning the Tiger Swallowtail,
shown at left, an original acrylic by Gail Niebrugge. Niebrugge's pointillistic style from previous years has evolved in this latest painting, which features a butterfly hovering over a fireweed plant in a birch forest. The vertical format was perfect for the niche it was displayed in, and the niche was just a little too deep for enthusiasts to encounter the painting naturally. At $7,700, this painting is reasonably priced and deserving of more attention. Niebrugge offers reproductions of her work at booths at the Alaska State fair, and has recently moved to Finger Lake in Wasilla and invites folks to help her celebrate 30 years of painting at her open studio October 21-22, 2006. The Kenai Experience exhibition will be open to the public from now through September 9th. The earlier than usual opening allowed more time for school children to visit the museum during the time classes are in session. It offers an aesthetic respite from fishing for visitors and locals alike. Congratulations to Mya Renken, executive director and Dana Woodard, museum services manager for the success of their hard work on this exhibition. Rumors are that next year Don Mohr will curate on a theme of Alaskan structures. |
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FAIR MAIDEN:WALKER MOSAIC
GLASS Artique Ltd Gallery presented the glass mosaics of Cammie Walker
last month,. Her colorful piece My Fair Maiden is shown in the photo at
left. Mosaics, made from small elements ranging from opaque to translucent, tend to
flatten their subject matter. Even when a display torso is tiled in glass, as Walker's
donation to last month's Museum Gala auction was, the nature of the technique insists on
its unique quality of planar facets. In Fair Maiden, she establishes a rhythm
with the square background that lifts the figure which is made of mixed geometric elements
whose diagonals suggest low relief. One hand and the contours of the figure are the most
organic shapes, and the rather bizarre emphasis on the breasts and crotch gives the
impression of a grinning face. All of these things may seem discordant, and a jittery
energy is begun in this piece. Why has the figure been cropped unless to avoid
difficulties in invoking the face, hands and feet of the Maiden with such rigid
materials? Applying colorful tesseracts to glass or clay pots, or furniture, or
birdhouses, or mirrors is an easily essayed hobbyist craft that can become obsessive and
is in fact celebrated for these qualities. It is difficult to make decorative craft
express cogent meaning. Other works by Walker, such as Seeing Reds, not shown,
are more plainly iconic. The painstaking craft and lavish materials involved in the
mosaics make them desirable to those for whom the pictorial or decorative side is
compelling. Fair Maiden will go home with an enthusiast for just over
$4000. BIRD IN PARADISE: MARCUCCI Unremittingly gestural, the abstracts of Kim Marcucci were paired with Walker's mosaics at Artique. Her large canvases share the non-objective approach of Linnea Radcliff (cf issue #) and their compositions, colors and general ambience are distinguished by Marcucci's harder edges and directed application. In Bird of Paradise, and example of Marcucci's style included in the gallery's Small Art show seen at left, the abstraction may be genuine or the title may have been apt. Marcucci's work shows the enjoyment she derives from mixing colors loosely on her canvas with brushes. Only the background blended areas are reworked and blended. Other sections of the canvas are attacked with paint with a baccarat approach of hit and stick. This is a courageous way to paint, and Marcucci's vivid colors and simple designs are popular with collectors who don't need to know a 'story' behind a work, or even 'what it's about'.i |
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MINERS EYE VIEW:WOOLHAM
WINDOW A profusion of works around a foot square and generally under
$300 will continue to be offered at the gallery during May. Most of the small works were representative in nature as well, with contributions like Miners Eye View by Elizabeth Woolham, shown at left, literally providing a view of a view out of a window. The viewer is left looking into the picture frame through the painted window panes into an alpine meadow and looming peaks in a misty background. A frisson of cabin fever shivers out of this painting and although it seems innocuous it is certainly not innocent. Other landscapes were more conventional, including those by Michele Usibelli, whose works will be featured later this summer at Artique. The Usibelli family name is associated with coal mining in the interior, and with collecting art in Fairbanks. A show from the Washingon state artist may be an occasion where the patrone has an opportunity to look over work by Anchorage artists for a change. Artique will also host show of works by Ayse Gilbert and Linda Infante Lyons this month. Gilbert's plein aire pastels depict familiar Alaskan scenes in histrionic colors, while Lyons oil paintings blend fantasy landscapes with meticulously observed flora and fauna in the foreground. |
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- ARTIST OPPORTUNITIES-
5/10/06 deadline TALKEETNA MOOSE DROPPING FESTIVAL seeks artists to cutout and decorate plywood moose, plus pay $25 to see them auctioned off at the event. Contact 733-2710 or get paperwork at Talkeetna Post Office. 5/13/06 deadline ALASKA WATERCOLOR SOCIETY 2006 SCHOLARSHIP AWARD two $1,000 to current students. Details online. 5/31/06 deadline AKDOT&PF GLENN/BRAGAW INTERCHANGE requests concept proposals and qualifications for a shortlist of artists. The selected contractor will be required to work with the selected artist(s) as a member of the design team. The design team will typically consist of the general contractor, civil design firm, illumination design firm, landscape architecture firm and the artist(s). $25 million project; no specific budget. (1% is $250,000) It is recommended that the artist(s) execute a letter of agreement with design build firms while in the proposal stage and prior to the final team selection. Contact Tom Dougherty, PO Box 196900 4111 Aviation Avenue Anchorage, AK 99519 6/1/06 deadline ASCA QUARTERLY INDIVIDUAL CAREER GRANT up to $1,000. applications online 907-269-6605 6/9/06 deadline WASHINGTON STATE 2006 REGISTRY artists are invited to prequalify for short list of recommended artists for upcoming projects. Details online. 8/16/06 deadline ART FOR ALASKA PARKS is inaugurating a competition with a call for entries based on the Chugach State Park in Anchorage. $2000 in prizes, $25 minimum entry fee, extensive restrictions. Contact Joe Nedland,
ART MARKETING 101 by Constance Smith A second edition handbook for fine artists, this well organized and thorough discussion of the business aspects of making a living from art doubles as a workbook for those lucky enough to own it. It is jammed with useful advice. UAA students are being offered a practicum on the business of art this summer. ArtSceneAK recommends this book to the rest of us.. NEXT: MILLSTONE APPROACHES SHORTCUTS: Aggravated again?! Ecstatic?! Let us know you love us or hate us. Help correct attribution errors that you suspect. Tell us about your upcoming event or artist opportunity. Let us know about your website. Form makes it easy to try your hand at pumping or dumping. cf also ART IN ALASKA
CONGRATULATIONS: Spring 2006 Rasmuson Foundation Artist Project Award recipients are: Caleb Aronson, Kenai, an emerging folk singer, will record and produce a second CD. Jennifer Baron, Talkeetna, an emerging photographer, will rent a studio space, set up a dark room, and devote more time to creating new work. Beverly Cover, Anchorage, will purchase photographic and framing supplies to prepare for a solo exhibit at the Anchorage Museum of History and Art. Andrew Hilsabeck, Homer, will spend three months recording community dialogues and creating musical compositions using the voices. Ishmael Hope, Juneau, will develop and produce a public performance of his original musical theatre script. Dimitrios Macheras, Anchorage, will purchase arts supplies (colored pencils?) and time to create a graphic novel. Barry McWayne, Fairbanks, will purchase photographic supplies, travel, lecture and exhibit at Kenai Peninsula College. Larry Merculieff, Anchorage, will complete his book about the life and wisdom of the modern day Aleut. Michael Nakoneczny, Fairbanks, Chicago, will travel to Bangkok, Thailand to produce a new series of works. Cinthia Ritchie, Anchorage, will use the financial support to finish revising her novel, Hunger. (Editor's note: both links for Ritchie lead to poetry some might call pornographic.) Robert Rose, Sitka, will build a new studio space. Bill Sherwonit, Anchorage, will attend a residency to work on a creative non- fiction book-length project about the deformed-bill chickadees in Alaska. Mark Wedekind, will expand his studio space. The Alaska State Museum has selected five Alaska artists to present solo exhibitions over the next two years: Beverly Cover, Don Decker, Gary Kaulitz and Fran Reed all of Anchorage, and Evon Zerbetz of Ketchikan. They were chosen from a field of 29 artists who applied for a one-person showing at the museum. |
KEN GRAY AWARD:WOLF
HONORED  The
Directors of the International Gallery of Contemporary Art found time recently to honor
Anchorage Museum director Pat Wolf, shown at right accepting the unique Ken Gray
award. Wolf's defense of artists integrity in the face of censure, her personal
devotion to the success of Museum expansion, and her support of the Museum's unique
relationship with local artists exemplified by the annual juried shows she has insisted on
over the years since the late 1970's when she was Curator of Education at the fledgling
institution are just three of the many reasons the IGCA directors wanted to give her
special recognition. An administrator whose enthusiasm for the arts affects every
artist in Alaska, Wolf is also an important collector in her own right, successfully
outbidding spirited competition for the feature painting by Susan Lindsey at the recent
Museum Gala auction. Due to the demands of her busy schedule, Wolf spoke briefly, then returned to the Museum to the opening reception for the exhibitions of the Arctic Studies Center. The crowd assembled remained at the IGCA to hear Uruguayan art administrator Enrique Badaro offer insights into the Montevideo art scene and his background for making decisions as jurist for the gallery's first annual 'All-Alaska' exhibition on view this month. The trophy is a cast of an oil can with the awardee's name incised into the bottom. Previous recipients include Ken Gray himself (during his infirmities), IGCA co-founder David Felker, former Visual Arts Center powerhouse John Blaine, artist and arts analyst Wanda Seamster, IGCA co-director Don Decker, and Fairbanks Museum photography curator Barry McWayne. Offer trophies to your homies in the BACK ISSUE Index.
No, Thank You to a subscriber who wrote: "Thanks for mentioning the artist's efforts in your article about the Museum Gala. I think you hit it right on the nose." POW! C-YA to a reader who overcame apathy only to encounter conflict yet achieved enlightenment: "I, finally, decided to look at one of your issues, only to be informed that I should “enter a ‘valid’ email address”... So, please remove me from your broadcast, as I, apparently, am not ‘valid’ enough for you. Of course, I speak pejoratively. Cordially, MR" ArtSceneAK has recently redesigned the splash page. Sending us your email address one time through the mechanism there registers your name as someone who has explicitly given permission to us to contact them when new BACK ISSUES are available. Apologies to all for extra notifications they may receive: "I recently received 4 copies of the latest distribution..I support your efforts but no longer have time to track all the email I'm getting." OK, my bad Andy Sonneborn is planning this summer's Paint-Out
plein aire events and also a special "Call for entries!!! The Paintspot Gallery
will be hosting an invitational show, "I LOVE MY TRUCK" From Mountain View: " The Mountain View Arts and Culture District Association is a new non-profit organization. Our mission is to promote the development of the Mountain View arts and culture district. We go by the initials MACD (pronounced macked). We are sponsoring a logo contest. The winner will receive a $100.00 cash prize, plus dinner for two at Noble’s Diner in Mt. View, plus a free membership in MACD, plus exposure on the web. To enter: Create an edgy, eye-catching logo suggestive of an emerging center of arts and cultural activity in Anchorage. Drop your original design off at Noble’s Diner at 4133 Mt, View Dr, or email it as a pdf or jpeg file to: Be sure to include your contact information. Deadline to enter is May 10th at 5:00 PM."From Juneau: "Just a quick note to let you know I’m having another art exhibit!
I have roughly 20 new paintings: mountaintop nudes, wetlands kitties, ballroom
dancers, and a lot more. Cinco de Mayo from 5-8pm at the Two Crows Gallery (above the
Paradise Café, across from Marine Park) From Anchorage: "Please join us on May 5th, at 6 pm
at the Spot Gallery for the opening reception of "WORKS FOR ME", an exhibit by
Tony Crocetto a show of
abstract and landscape paintings and mixed media works by an experienced Alaskan painter.
There is a sense of Alaskan landscapes in Crocetto's abstracts and something of his
abstract sensibility in his rendering of the Alaskan terrain. The Spot Gallery is
proud to feature these works side by side to show them as a continuum in the spectrum of
Crocetto's expression." Also: "Please come, enjoy the food and the drawings! Thank you and welcome to new and renewing subscribers this month. CONDOLENCES TO THE RASMUSON FOUNDATION ARTIST PROJECT AWARD ALSO-RANS, including ArtSceneAK's editor Donald R RIcker --- Anchorage. Mr Ricker, a mid career polymath, will not receive support for his efforts to expand ArtSceneAK's coverage to survey the art communities in Fairbanks and Southeast. Internet technology informs him that no-one from the outside panel even attempted to look at ArtSceneAK on the web during the decision making process, although it doesn't help him understand. One hundred and fifteen artists have benefited from the Rasmuson Foundation's Museum Art Acquisition program in the last few years, a list made more prominent by the names of those not included on it. Although it hurts to think that only one visual artist attended the roll-out of the Rasmuson Arts Initiative, only one visual artist participated in the original telephone conference, and only one has supported and distributed information about the initiative consistently, it is soothing to think that many others have been passed over who have not advocated for the success of the Rasmuson's efforts. Hopefully, more than that one artist has personally thanked Edward Rasmuson for his generosity.
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text & photos © 2006 Donald R Ricker; artist's works pictured ©2006 to artists credited.
ArtSceneAK is published by Donald R Ricker and sponsored by
BETTER LETTERS, PO Box 103554, Anchorage AK 99510-3554
, a partial listing of links to Museums,
Galleries, and individual Artists around the state.
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